Merton L. Gershun Low Tambour-Door Credenza for Dillingham

Price Sold
Dimensions
23.50in H x 71.50in W x 18in D
Materials
Walnut Wood

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5448 E. Olympic Blvd., Los Angeles, CA 90022

U.S. Shipping

$150

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Starting at $95

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Merton L. Gershun Low Tambour-Door Credenza for Dillingham

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

This low-profile tambour-door credenza exemplifies the best of American mid-century modern design, offering both refined form and thoughtful function. Designed by Merton L. Gershun for Dillingham in the 1960s, its wedge-shaped silhouette and smooth walnut tambour doors give the piece a warm yet streamlined presence perfect for contemporary interiors. Behind the sliding doors is a spacious interior with compartmentalized storage that adapts easily for media components, linens, or everyday essentials, while its raised lip top surface adds subtle visual detail. Elevated on tapered legs, the credenza feels light and poised, balancing its generous proportions with elegant structure. Newly refinished by skilled craftsmen, the rich walnut finish highlights the grain and ensures this piece is ready for modern use with timeless appeal.

Fun Historical Fact
During the mid-20th century, designers like Merton L. Gershun helped define an American interpretation of modern furniture that valued both practicality and refined aesthetics. Incorporating tambour doors — a design feature borrowed from traditional roll-top desks — was a clever way to offer smooth, space-saving access without interrupting a clean façade. Pieces like this credenza were designed to be versatile in postwar living spaces, easily functioning as storage, media consoles, or display surfaces in homes that embraced modern design.

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Product care

Wood care tip

Wood

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Merton L. Gershun

Designer spotlight

Merton L. Gershun

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.