Gilbert Rohde Chest of Drawers for Herman Miller in Birdseye Maple and Mahogany

A rosewood Thin Edge dresser designed by George Nelson for Herman Miller with exquisite rosewood grain and early original white porcelain handles.  The George Nelson Rosewood Thin Edge 4-drawer Dresser, crafted by Herman Miller, epitomizes the timeless elegance and functional sophistication synonymous with mid-century modern design. This dresser stands as an iconic piece within the George Nelson collection, renowned for its clean lines, minimalist aesthetic, and impeccable craftsmanship. This particular example boasts exquisite rosewood grain and early original white porcelain handles. Constructed from rich rosewood veneer, the dresser boasts a warm, organic hue that exudes luxury and refinement. Its slender profile and thin edges create an illusion of lightness, enhancing the overall sense of modernity and grace. The 4 spacious drawers feature seamless integration of hardware, maintaining the dresser's sleek appearance while providing ample storage space for clothing, linens, or personal belongings. Each detail of the George Nelson Rosewood Thin Edge series reflects an unwavering commitment to both form and function. Its timeless design transcends trends, making it a versatile addition to any interior decor scheme, from minamalist to post-modern. Whether used in a bedroom, living area, or office space, this dresser elevates the ambiance with its understated elegance and unparalleled craftsmanship, showcasing the enduring legacy of George Nelson's visionary design ethos. About the Designer: Not everyone thinks of George Nelson when they think “Modernism”—but they should. Here’s why: Looking at the outset of George Nelson’s career, few would have guessed that his legacy would crown him as one of the most influential individuals in Modernism—story has it that the young Ivy Leaguer stumbled into the Yale School of Architecture seeking shelter from the rain, and only then did he consider studying design. His legacy, though, would be one that touched nearly every corner of American Modernism as we think of it today. As an architect, author, furniture designer, graphic designer, exhibition designer, teacher, amateur photographer, and general provocateur, George Nelson shaped the course of design in America for over four decades. After completing his two Bachelor’s degrees (one in architecture, the other in fine arts), Nelson went on to accept a traveling fellowship in Rome, which interfaced him with figures like Ludwig Mies Van Der Rohe, Walter Gropius, Le Corbusier, and Gio Ponti all of which he interviewed forPencil Point, bringing the European vanguard to the attention of the magazine’s American readership. At this point in his career, Nelson had devoted himself to writing, joining Architectural Forum as its first associate editor in 1935. For nearly a decade, Nelson’s post as an editor brought him face-to-face with many of the leaders of the Modernism movement in the U.S., and through these exchanges, his own stance in the design world began to solidify. For Nelson, the purpose of design was to improve the world in accordance with the laws of nature—and while he hadn’t yet done much designing himself, he was busy teasing out the theoretical details of architecture. In 1940, Nelson co-authored Tomorrow’s House with Henry Wright, and the book went on to be a great commercial success, introducing concepts like the “family room,” and more broadly assuming a solutions-based perspective for architectural design. It wasn’t long before the book earned him the favorable attention of D.J. Depree, the chairman of Herman Miller the American furniture manufacture. Despite Nelson’s inexperience in furniture design, Depree saw potential in the writer’s approach to the industry: solutions-oriented design with a practical lean. Nelson became the company’s Director of Design in 1947, under the condition that he be allowed to continue his work outside of the company.  From 1947 to 1972, Nelson oversaw the design department at Herman Miller, bringing in the icons that would shape some of the most memorable pieces of mid-century design, from such people as Ray and Charles Eames and Harry Bertoia to Richard Schultz, Donald Knorr, and Isamu Noguchi. 

Beginning in the mid-1950s, Nelson’s own design firm began its work in earnest, producing furniture and pioneering a ubiquitous incorporation of design, bringing that same consideration for pragmatism and aesthetics to advertising and marketing materials, image management, and graphic programs. His own firm incorporated in 1955, tapping many of the same designers from the Herman Miller roster for collaborations under George Nelson Associates, Inc. It was during this period of Nelson’s life and career that many of his most iconic designs came onto the scene—many will be instantly familiar furniture silhouettes that perhaps you didn’t know sprung from George Nelson himself.  Designing his first collection in 1945 and appointed design director in 1947, Nelson quickly expanded his purview and transformed the company. Confirming De Pree’s early assessment of Nelson as someone “thinking well ahead of the parade,” he redesigned everything from Herman Miller’s product line to its graphics and marketing and advertising materials. Over the course of his long association with Herman Miller, Nelson designed hundreds of pieces of furniture and recruited other designers, including Charles and Ray Eames, Alexander Girard, and Isamu Noguchi, now all widely acknowledged as some of the brightest talents of the time. Nelson developed his own designs—from furniture to architecture, and exhibitions to graphics—in his New York City studio, known variously over the years as George Nelson, George Nelson & Associates, and George Nelson and Company. The staff included significant designers in their own right such as Irving Harper, George Mulhauser, Ernest Farmer, Gordon Chadwick, George Tscherny...

Uncommon Edward Wormley Dresser in Mahogany and Leather for Dunbar. Gorgeous restored vintage dresser with contrasting channelled recessed pulls in contrasting wood species. This pie...

La Fonda coffee or large end table designed by Charles and Ray Eames and manufactured by Herman Miller. This series was designed for the La Fonda restaurant, designed by Alexander Gi...

Rare Eames LAR chairs for Herman Miller. Parchment molded fiberglass LAR chair designed by Charles and Ray Eames for Herman Miller. On wire "cat's cradle" base. This example dates to circa 1954 and was in production as one of the five introductory base styles when the fiberglass shells were introduced in 1950. It does not have a rope edge, which pushes in slightly later into the 1950s. One chair with early Orange Herman Miller label. The other chair without a label. Shells are clean but show some patina as does the base. Shock mounts look to be original and in good working order. These chairs have continued to become more and more difficult to find. Condition on this example is very good with some wear as to be expected. Dimensions: 25" L x 24" D x 24.5"H, Seat Height: 11.5" The Eames LAR Cats Cradle Chair or abbreviated Low (L) Height, Arm (A) Chair on Rod (R) Base was one of the ‘original 5’ of base types the fiberglass shell chairs were released with, in 1950. Essentially designed as a lounge height chair, the LAR base developed the popular common name ‘Cats Cradle’ and remains a favorite with collectors today. The Eames LAR Chair was certainly a masterful design, different from any of the other options of the ‘original 5’ and providing a third lounge option for the plastic chair series along with the RAR and LAX (DAX Variant). It was also quite a contrast to the stark and traditional typical seating designs of the 1940’s and 1950’s. The rod wire base was bent into shape to provide two horizontal struts to connect with the floor and give the almost triangular visual. The original 5 bases released in the 1950 first generation included the rocking RAR, the Eiffel DAR, the dowel leg DAW and four legged DAX along with the LAR. The Eames Cats...

Beautifully refinished mahogany tall boy chest of four drawers by Gilbert Rohde for Herman Miller's 4140 collection with original off-white "leather cloth" (Fabrikoid) padded drawers. Top drawer is fitted with vide poche sliding and removable tray. See pages from original 1941 Herman Miller catalog...

We have a total of three available of these beautifully refinished mahogany chests of three drawers by Gilbert Rohde for Herman Miller's 4140 collection with original off-white "leather cloth" (Fabrikoid) padded drawers. Top drawer is fitted with vide poche sliding and removable tray and has original label. See pages from original 1941 Herman Miller catalog...

Introducing a rare Model 4140 three drawer dresser designed by Gilbert Rohde for Herman Miller. Produced in the 1940's this prime example of Art Deco Design is constructed from a wal...

This stunning dresser showcases Gilbert Rohde's signature aesthetic, combining highly polished birds-eye maple with rich walnut construction. The piece brilliantly balances mid-centu...