A fully restored George Nelson 'Thin Edge' chest of drawers with aluminum legs, porcelain hourglass-shaped pulls, and walnut veneer. Produced in the 1960s by Herman Miller, the cabinet and drawers have been completely refinished and are in great condition.

It was Nelson's 'Storagewall' concept, first introduced in 1945 in a Life magazine feature article, that led to a series of cabinets that Nelson designed over the course of several years. in the 1940s, George Nelson was at the forefront of the trend toward modernism in design. The Nelson 'Basic Cabinet Series', designed in 1946, was his first clean-lined, functional, and versatile modular storage system, which gave way to the updated 'Rosewood Cabinet Series' of 1952 (so-called due to its singular use of rosewood veneer). This new series represented a synthesis of Nelson’s approach to modular storage furniture with heightened attention to quality and craftsmanship. As the range of veneers expanded and design details were standardized, the group was renamed in 1958 after the feature that gives them their unique aesthetic quality—the thin edge that frames the doors and drawers. The 'Thin Edge Group' stands out for its attention to detail and high standards of quality. Porcelain handles, aluminum legs, and exotic veneers all came together in an unbeatable contemporary collection. It was George Nelson’s ongoing endeavor to standardize and organize the objects of everyday life and to do it in a minimal and practical way. Creating elegant storage options was a significant part of his life’s work, as were his sofas and chairs.

Often cited as one of the founders of American modernism, industrial designer George Nelson is responsible for some of the most iconic furniture created in the 20th century. His utopian view of design, which he argued in the pages of Architectural Forum where he was an editor in the 1930s and ’40s, resulted in domestic standbys of contemporary domestic architecture, such as the family room and the storage wall. Nelson worked for Herman Miller for over a quarter-century, helping the company come up with their famously functional furniture pieces. Idealistic until the end, Nelson believed that “total design is nothing more or less than a process of relating everything to everything.”

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