Ceramic Dressers

Condition: Expertly Refinished With over 15 years of experience, our workshop has followed a careful process of restoration, showcasing our passion and creativity for vintage design...

A George Nelson four-drawer Thin Edge rosewood dresser, circa 1955. This stunning piece has dynamic, rich rosewood graining, four drawers, original porcelain pulls, and iconic Thin E...

Walnut dresser from Drexel’s Declaration collection by Kipp Stewart and Stewart MacDougall, c. 1959. Features eight drawers with original white ceramic knobs on brass spacers. Includ...

Part of the Thin Edge series that George Nelson designed for Herman Miller in the 1950s, this wonderful set comprises two dressers in a tawny walnut on either side of a suspended van...

Iconic Mid Century masterpiece, five drawer thin edge dresser designed by recognized master of the idiom, George Nelson, for Herman Miller, circa 1950's. Part of the hard to find, a...

A fantastic little micro-mosaic design gem with orange inlay by well know Mid-Century Modern designers Jerome (Jerry) & Evelyn Ackerman. The Ackermans began their career in design primarily in ceramics in the early 1950s. After finishing at Alfred University, Jerome worked at the Jenev Design Studio developing ceramic molds...

Exceptional six drawer chest of drawers designed by Kipp Stewart and Stewart MacDougall, for Drexel as part of the iconic Declaration series, circa 1950/60’s. The dresser features t...

Mid Century Drexel Declaration 11 Drawer designed by Kipp Stewart in the 1950’s. This iconic design elevates any space. With its push to open center doors, and white porcelain signat...

Mid century 6 drawers walnut high chest dresser W/ Porcelain ball pulls mint!

A fantastic little micro-mosaic design gem with orange colored mosaic inlay by well know Mid-Century Modern designers Jerome (Jerry) & Evelyn Ackerman. The Ackermans began their career in design primarily in ceramics in the early 1950s. After finishing at Alfred University, Jerome worked at the Jenev Design Studio developing ceramic molds...

The great George Nelson left us with a massive portfolio of forward thinking design which Herman Miller has largely kept alive to this day. Nelson became design director for Herman M...

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...

Charming circa 1940s Streamlined Moderne bachelor chests by Karpen Furniture Co. are refinished in softest olive to highlight their all-original floriate ceramic drawer knobs in vivid apple green. Founded in 1880, the Chicago-based Karpen Guaranteed Furniture...

Demilune Very Fine Inlaid Console Server Cabinet Porcelain Plaque Pulls Dresser

Rare and very elegant Mid Century T.H. Robsjohn-Gibbings for Widdicomb, 6 drawer walnut dresser, subtle serpentine form front with splayed legs, custom 22-carat gold porcelain hardwa...

20th-Century Richly Inlaid Two-Leaf Cabinet With Marble Top A two-door cabinet styled after Louis XV, dated post-1945. The body of the furniture features beveled corners, set on a p...

A fantastic little micro-mosaic design gem with turquose colored mosaic inlay by well know Mid-Century Modern designers Jerome (Jerry) & Evelyn Ackerman. The Ackermans began their career in design primarily in ceramics in the early 1950s. After finishing at Alfred University, Jerome worked at the Jenev Design Studio developing ceramic molds...

George Nelson Thin Edge cabinet in Brazilian Rosewood, manufactured by Herman Miller. Signed with the early round Herman Miller medallion. Very good original condition. Very few sign...

C19th French faux bamboo and marble dresser. Superb pine dressing table with three drawers, adjustable mirror and ceramic & brass drawer pulls. In very good, solid condition with so...

A Beautiful Late 19th Century Gilt Bronze Mounted Louis XVI Sèvres Style Dressing Table This wonderful and rare table is mounted by over twenty three individual porcelain plaques de...

George Nelson design Thin Edge Group dresser for Herman Miller. Sophisticated looking and very functional as a daily dresser. Comprising four smaller drawers across the top and three...

The great George Nelson left us with a massive portfolio of forward thinking design which Herman Miller has largely kept alive to this day. Nelson became design director for Herman M...

A small bronze table clock, finely hand painted porcelain face with gilt hands & accents. Most likely the bronze had been gilt when produced, but the gilding has been removed in the ...