Arne Vodder Triennale 4 Drawer Dresser by Sibast (2 available)
About the Item
- Creator:Arne Vodder (Designer),Sibast (Manufacturer)
- Dimensions:Height: 31.5 in (80.01 cm)Width: 19.25 in (48.9 cm)Depth: 39.25 in (99.7 cm)
- Style:Scandinavian Modern (Of the Period)
- Materials and Techniques:Teak,Lacquered
- Place of Origin:
- Period:
- Date of Manufacture:Circa 1950's
- Condition:Refinished. Wear consistent with age and use. We have restored these dressers to excellent vintage condition. The drawers slide smoothly, the case has no deep scratches, nicks or gouges.
- Seller Location:San Diego, CA
- Reference Number:1stDibs: LU6417238880812
Arne Vodder
Along with Vernor Panton, cabinetmaker and architect Arne Vodder was a leading light of what might be called the “second generation” of forward-thinking 20th-century Danish furniture designers — those who, following in the footsteps of Hans Wegner, Arne Jacobsen, Finn Juhl and others, first applied the skills, traditions and philosophical tenets of Scandinavian craftsmanship to a modern furniture idiom.
As a graduate student in architecture trained by pioneering furniture designer Finn Juhl, Vodder made his mark in the 1960s, when modern design had gained wide acceptance, particularly in the business world. Accordingly, many of Vodder's chairs are quiet in form — projecting an air of sturdiness and strength, rather than avant-garde styling.
Vodder’s aesthetic flair was very pronounced in his vintage cabinets and storage pieces — sideboards, bookcases, credenzas and buffets. In such pieces, Vodder liked to play with asymmetry. His bookcases often have a seemingly random array of variously sized shelves and nooks. A typical Vodder sideboard might have four sections, each different in purpose and look: an open stack of vertical shelves, and other cupboards covered with sliding panels in contrasting colored laminates and wood veneers.
As you will see from the works on 1stDibs, Arne Vodder had a sense of what kind of design was appropriate for which space: sobriety in the boardroom; playfulness at home.
Sibast
While the origins of Sibast can be traced back to wooden furnishings created in a modest cabinetmaker’s workshop in 1908, the Danish company is best known for the vintage dining chairs, desks, armchairs and other pieces it produced during the postwar years. Owing largely to the creative direction of designer Helge Sibast during that period, the manufacturer is internationally revered today for its wide range of sleek and collectible Scandinavian modern furniture.
Sibast was established by cabinetmaker Peder Olsen Sibast in 1908 as a small carpentry shop in rural Denmark. Peder's son Helge was born that year and began apprenticing alongside his father at a young age. In the 1940s, when the elder Sibast passed away, Helge assumed a management role at the company alongside his siblings, Ole and Emma.
Helge was tasked with leading design, production and product development at a time when what we now call mid-century modernist furniture design was gaining popularity with American consumers and elsewhere, and his own designs reflected a focus on craftsmanship and an emphasis on clean lines as well as the use of organic materials in their construction. Sibast also enlisted the talents of other renowned Danish modernists including Piet Hein, Arne Vodder and Grete Jalk. Vodder designed many of the brand’s armchairs, dining tables and dining chairs that were exported to the United States throughout the ‘50s and ‘60s.
In 1953, the company introduced two of Helge Sibast's most celebrated creations — the Sibast No. 7 and No. 8 chairs. The popular Sibast No. 7 dining chair is noted for its floating backrest and expressive form. With its sturdy Y-frame, the unassuming Sibast No. 8 was a worldwide hit when it debuted, and its simple and functional mid-century modern appeal made it an instant classic. In the 1960s, Sibast chairs were even purchased for interiors at the White House.
The Sibast family sold the company in 1984 but retained the copyrights to Helge's designs. In 2012, Helge's grandson Ditlev and his wife Anna relaunched the Sibast furniture company. The brand’s offerings include many of Helge's original creations alongside new designs that adhere to the company's long-held tradition of creating sculptural, innovative and functional furniture.
Find vintage Sibast storage pieces, seating and tables on 1stDibs.
- ShippingRetrieving quote...Ships From: San Diego, CA
- Return PolicyA return for this item may be initiated within 1 day of delivery.
- Arne Vodder "Triennale" Teak Dresser with Blue Bowtie Drawers for Sibast MøblerBy Arne VodderLocated in San Diego, CAAn iconic design by Arne Vodder 'Triennale' dresser was produced by Sibast Mobler, circa 1950. Constructed in teak, the long eight drawer dresser is a classic piece of danish modern ...Category
Mid-20th Century Swedish Scandinavian Modern Dressers
MaterialsTeak
- George Nelson Rosewood Thin Edge 4 drawer Dresser by Herman Miller #1By George NelsonLocated in San Diego, CAA 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...Category
Vintage 1950s American Mid-Century Modern Dressers
MaterialsAluminum
- George Nelson Rosewood Thin Edge 4 drawer Dresser by Herman Miller #2By George NelsonLocated in San Diego, CAA 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...Category
Vintage 1950s American Mid-Century Modern Dressers
MaterialsAluminum
- Stanley Young 6 Drawer Dresser for Glenn of CaliforniaBy Glenn of California, Stanley YoungLocated in San Diego, CAThis is a chance at a rare and high-quality dresser designed by Stanley Young for Glenn of California in the United States circa 1950’s. Like many of Young’s creations, this exceptio...Category
Vintage 1960s American Mid-Century Modern Dressers
MaterialsWalnut
- William Hinn Walnut Dresser by The Swedish Furniture GuildBy Swedish Furniture GuildLocated in San Diego, CAIntroducing the rare and stunning William Hinn curved front dresser by The Swedish Furniture Guild for Urban Furniture. This Scandinavian Modern classic has been executed in Black wa...Category
Vintage 1960s Swedish Scandinavian Modern Dressers
MaterialsWalnut
- Glenn of California Dresser by Richard ThompsonBy Glenn of California, Richard ThompsonLocated in San Diego, CAThis 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...Category
Mid-20th Century American Mid-Century Modern Dressers
MaterialsRosewood, Walnut
- Rosewood Dresser by Arne Vodder for Sibast, 1960sBy Arne Vodder, SibastLocated in Hamburg, PAA gorgeous rosewood Dresser by Arne Vodder for Sibast, 1960s. This Scandinavian Modern cabinet seems to be rare as it has metal legs instead of wood and there are not many on the mar...Category
Vintage 1960s Danish Scandinavian Modern Dressers
MaterialsChrome
- Triennale Dresser / Credenza Model L-32-6 by Arne Vodder for Sibast, c. 1950sBy Arne VodderLocated in Deland, FLAn iconic design by Arne Vodder, the mod. no. L-32-6 'Triennale' cabinet was produced by Sibast Mobler, c. 1950. Constructed in teak, the long eight drawer dresser which doubles as a...Category
Vintage 1950s Danish Mid-Century Modern Dressers
MaterialsTeak
- Danish Modern Teak Wardrobe Dresser Chest by Arne Vodder for Sibast MøblerBy Arne Vodder, SibastLocated in San Jose, CAMid-Century Modern tall wardrobe dresser chest designed by Arne Vodder for Sibast Møbler, circa 1960s, Denmark. Features a stunning and functional tambour sliding door that reveals p...Category
Vintage 1960s Danish Scandinavian Modern Dressers
MaterialsTeak
- Mid-Century Modern Eight Drawer Dresser in Teak by Arne Vodder for SibastBy Arne VodderLocated in Deland, FLEqual parts function and elegance this exquisite eight drawer dresser, designed by the renowned Arne Vodder, is magnificent example of Danish Minimalist design. Constructed of teak w...Category
Vintage 1960s Danish Scandinavian Modern Dressers
MaterialsTeak
- Arne Vodder Small Dresser for Sibast, DenmarkBy Arne VodderLocated in Cincinnati, OHA well-crafted teak wood small dresser with four drawers having the designer signature cats eye design fronts that serve as pulls. The top drawer has divided sections for storage and...Category
Mid-20th Century Danish Mid-Century Modern Dressers
MaterialsTeak
- Arne Vodder Mid Century Danish Teak Triple Dresser, Circa 1950sBy Arne Vodder, SibastLocated in Germantown, MDA rare danish teak dresser by Arne Vodder for Sibast Mobelfabrik, 1950s. This elegant Danish Modern nine-drawer triple dresser is in very good vintage condition. Would look great in ...Category
Mid-20th Century Danish Scandinavian Modern Dressers
MaterialsBrass