Extra Long Glenn of California 8 Drawer Dresser by John Kapel

This incredible 6 drawer dresser was designed by Richard Thompson for Glenn of California circa 1950s. It has a sleek walnut wood case with integrated legs and retractable inlaid ros...

Glenn of California dresser or gentleman's chest designed by Richard Thompson. The case is made of walnut and has retractable inlaid rosewood pulls. The walnut is a golden warm color...

An iconic design by Arne Vodder Triennale 4-drawer dresser was produced by Sibast Mobler, circa 1950. Constructed in teak, the 4-drawer dresser i...

A rosewood thin edge chest 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...

A rosewood thin edge chest 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...

A very rare and exceptional mid-century Organic Modern monumental triple dresser. The Origins Group was created by George Nakashima, widely considered one of the world's greatest ...

This is a professionally restored 3-drawer cabinet designed by John Kapel for Glenn of California.       

This is an excellent long version of John Kapel's iconic dresser by Glenn of California in walnut and black trim. Eight ample drawers and the drawers slide easily.

Small four drawer chest designed by John Kapel for Glenn of California. The chest is walnut with a black laminate base and black plastic strips below the drawer pulls. The drawers op...

This beautiful Mid-Century Modern walnut armoire cabinet was designed by John Kapel for Glenn of California. Designed and produced in the 1960s, this example is signed with a Glenn of California medallion in one drawer. This beautiful bedroom wardrobe cabinet features nicely grained walnut contrasted with black trim and plinth base, signature softly sculpted handles, which open to reveal a hinged mirror with additional hidden storage behind, several cubby spaces for storage and three pull out drawers. Glenn of California was at the forefront of a new West Coast modernist design movement from the late 1940s through the 1960s. Other notable designers who designed for Glenn of California include Greta Magnusson-Grossman, Milo Baughman, Paul Laszlo, Stanley Young, and Kipp Stewart. Consider using this classic Mid-Century Modern armoire cabinet by John Kappel...

Four door credenza with sculpted walnut handles that open to shelves and drawers. Beautiful black accents on the doors and base make the walnut pop. Designed by John Kapel for Glenn of California...

John Kapel bedroom side table for Glenn of California. Cabinet contains a white laminate slide out most likely used for water, cocktails, coffee. The angled rack is to hold newspa...