Edward J. Wormley Woven Front Cabinet for Dunbar

Price Sold
Dimensions
36.25in H x 41.50in W x 18in D
Materials
Walnut-Stained Mahogany Wood, Metal Accents

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2103 Hyperion Avenue, Los Angeles, CA 90027

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$150

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Starting at $95

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Edward J. Wormley Woven Front Cabinet for Dunbar

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15+
Years of restoration craft
8,000
Pieces restored in-house
80+
Designers represented

Designed by Edward J. Wormley for Dunbar in the 1950s, this exceptional cabinet reflects Wormley’s philosophy of blending modern design with timeless craftsmanship. Rather than relying on ornamentation, the piece draws its character from proportion, material quality, and thoughtful surface detail. What truly sets this cabinet apart is its woven front façade, a highly distinctive design element that showcases Wormley’s ability to reinterpret traditional techniques within a modern context. The woven doors introduce depth, rhythm, and texture, giving the piece a sculptural presence that feels both refined and architectural. Constructed in walnut-stained mahogany with subtle metal accents, the cabinet balances warmth and structure while remaining visually light on its tapered legs. Newly refinished and preserved in excellent condition, this is a highly sought-after Wormley design that exemplifies the sophistication and restraint that made his work for Dunbar so influential.

Fun Historical Fact
 Edward J. Wormley believed modern furniture should feel inviting rather than radical, often incorporating traditional craftsmanship into contemporary forms. His woven and textured cabinet fronts were among his most experimental designs and remain some of the most collectible today. Wormley’s work for Dunbar helped define what American luxury modernism looked like in the postwar era.

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Product care

Wood care tip

Wood

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Edward J Wormley

Designer spotlight

Edward J Wormley

Renowned for his elegant and timeless teak seating and dining designs.

All Møller pieces
After
Before
Drag to reveal - 64 hours of bench work

The Restoration Record

Everything we touched, and everything we left alone

Sixty-four hours of bench time by two craftsmen in our Hyperion Avenue workshop. Period-correct methods and materials throughout.

Frame fully disassembled, joints cleaned of old glue and re-set with hide glue. One rear stretcher replaced with salvaged period teak, grain-matched.
Stripped by hand, sanded through 120/180/240/320 grit, then three coats of Danish oil cut back between coats. No lacquer, no filler, no stain.
New jute webbing over the original beech rails; horsehair and natural latex pad; Kvadrat wool bouclé in undyed oat.
Maker's stamp, original brass fittings and the patina on the arm caps, the marks that prove the piece lived.