One-Door French Steel Railroad Cabinet, circa 1900

Rustic one-door Primitive jelly cupboard cabinet farmhouse chic. This has 3 shelves with plenty of storage space. Wonderful coloring on this! ...

This worked as a wardrobe for us. Hung up our coats and put our shoes on the shelves. This will work in any room in your home, the black you see on the shelf's is just contact paper...

CONTINENTAL HEAVILY WORN AND CARVED ONE-DOOR CUPBOARD OF SMALL DIMENSIONS Composed of 18th century and later elements, likely constructed in the late 19th/early 20th century of fant...

This TV stand with 2 sliding doors is designed by Eric Gizard - Paris. It is 100% made in France with solid and veneer ash and lacquered MDF doors. To pull the door, use the r...

This Two Door Strip Quilt Cabinet stands as one of the clearest expressions of Jim Rose’s legacy, uniting his commitments to material honesty, historical...

This Heavy Metal furniture series was launched during the Dutch Design Week in October 2011. As a unique feature these furniture items can be customized to the needs of the client in...

This is a cabinet in French style, typical of the Provence, a country French province, with three doors closed by metal mesh panels, with keys. It is a contemporary handmade production in solid oakwood and it is painted in a warm sable color...

A Victorian single door mahogany cabinet in the French taste, of upright rectangular form with a grey marble top set above a frieze with a disguised drawe...

Charming pinewood cabinet, with peeling, glossy green paint. The two doors open onto shelving (rather deep). Small drawer beneath the top. Raised on short, slightly tapering feet.

This tall cabinet exemplifies Jim Rose’s legacy at its most distilled and disciplined—an object where verticality, restraint, and material intelligence converge into a quietly commanding presence. The form recalls early American and Shaker cupboards, particularly storage pieces meant to stand apart and serve specific, practical purposes, yet Rose’s execution in steel transforms that lineage into something resolutely contemporary. The cabinet’s slender proportions and emphatic vertical lines highlight Rose’s sculptural training, giving the piece a bodily, almost architectural stance. The stepped cornice and subtly flared top introduce a sense of ceremony without ornament, while the paneled door and drawers below establish a rhythm of framed surfaces that echo traditional joinery, translated here into metal. As in much of Rose’s work, the steel is finished to suggest age and warmth, dissolving the boundary between industrial material and domestic familiarity. Functionally precise yet emotionally resonant, the piece reflects Rose’s belief that furniture should feel purpose-built and enduring. The single-door cabinet and drawers below offer a clear hierarchy of use, reinforcing his preference for clarity over excess. Nothing is superfluous; every decision supports balance, usability, and longevity. Within Rose’s broader body of work, this cabinet stands as a meditation on scale and solitude—a piece that does not dominate a room through size, but through presence. It underscores his enduring contribution to contemporary furniture: proving that steel, when handled with patience and respect for tradition, can carry the same sense of history, dignity, and quiet service as the finest wooden furniture. Jim Rose Legacy Collection Tall Cabinet, 2003 found steel with natural rust patina 80h x 23w x 16d in 203.20h x 58.42w x 40.64d cm Bio Jim Rose (1966–2023) was an American furniture maker, artist, and metalworker whose work occupied a singular position between studio craft, sculpture, and functional design. Born in Beech Grove, Indiana, Rose trained as a sculptor, earning his BFA from the School of the Art Institute of Chicago in 1988 after a brief period of study at Bard College. This sculptural foundation shaped his approach to furniture, in which proportion, structure, and surface were treated with the same rigor as utility, and everyday objects were understood as vehicles for aesthetic and ethical values. Working primarily in steel—often reclaimed or salvaged—Rose challenged conventional expectations of furniture materials. Through brushing, waxing, and patination, he developed surfaces that softened steel’s industrial associations, imparting warmth, depth, and a sense of age. His work drew on diverse historical and cultural sources, including Shaker furniture, Asian cabinetry, and the quilts of Gee’s Bend, yet these influences were never literal. Instead, Rose translated their underlying principles—clarity, restraint, repetition, and balance—into a contemporary language grounded in material honesty. Based for much of his career in Wisconsin, Rose was closely associated with the John Michael Kohler Arts Center, including participation in its Arts/Industry residency program. His furniture and objects were widely exhibited in galleries and design fairs across the United States and featured in publications such as American Craft and Architectural Digest. His work entered both private and institutional collections during his lifetime, reflecting a sustained engagement with collectors, curators, and designers. Rose’s furniture is distinguished by its emphasis on durability, adaptability, and use. Cabinets, chairs, benches, and tables were engineered for longevity and daily life, incorporating practical features such as steel drawer glides, modular construction, and discreet accommodations for modern technology. This functional intelligence was inseparable from his broader philosophy: furniture, for Rose, was a form of quiet service, meant to support human activity while carrying forward the history embedded in its materials. Jim Rose’s work is held in the permanent collections of major institutions including the Smithsonian American Art Museum, the Museum of Arts and Design in New York, the Milwaukee Art Museum, the Carnegie Museum of Art, and the John Michael Kohler Arts Center. Following his death in 2023, his legacy endures through a body of work that demonstrates how contemporary furniture can be both materially rigorous and deeply humane—objects shaped by patience, integrity, and an enduring respect for use. Education: 1989 B.F.A., Sculpture, The School of the Art Institute of Chicago, IL 1988 Student at Large, Welding Technology, Triton College, Chicago, IL 1985 Undergraduate Photography Bard College, Annandale-on-Hudson, New York Awards: 2008 Wisconsin Arts Board Fellowship Award, Madison, WI 2005 Elizabeth R. Raphael Founder’s Prize, Society for Contemporary Craft, Pittsburgh, PA 2003 Grant Recipient for Shaker Interpretations in Cast Iron, PA Arts Assoc / WI Arts Board 2003 Arts/Industry Residency Program for Visual Artists, John Michael Kohler Arts Center, Sheboygan, Wisconsin Solo Exhibitions: 2023 CODA Final Show, Gallery VICTOR, Chicago, IL 2017 New Work, Tory Folliard Gallery, Milwaukee, WI 2012 Simply Steel, Leigh Yawkey Woodson Art Museum, Wausau, WI 2007 Variation, Ann Nathan Gallery, Chicago, IL 2003 New Work, Ann Nathan Gallery, Chicago, IL 2001 Shaker in Steel / New Work, Ann Nathan Gallery, Chicago, IL 2000 Shaker in Steel / New Work, Ann Nathan Gallery, Chicago, IL 1999 Hands and Heart to Steel III, Ann Nathan Gallery, Chicago, IL National Exhibitions: 2023 Intersect Palm Springs, Gallery VICTOR, Palm Springs Convention Center, CA 2017 - 2018 SOFA Chicago – Gallery Victor Armendariz 1995 - 2016 SOFA Chicago, New York, Palm Beach - Ann Nathan Gallery 2011 - 2002 Art Chicago - Ann Nathan Gallery Group Exhibitions: 2022 Wunderkammer: Victor's Cabinet of Curiosities – 5th Anniversary Special Exhibit, Gallery VICTOR, Chicago, IL 2017 Coming Attractions: Inaugural Exhibition, Gallery Victor Armendariz, Chicago, IL 2017 Living with Art: The Newman Collection, 108 Contemporary, Tulsa, Oklahoma 2016 Form Follows Function: The Intersection of Art and Craft, The Hardy Gallery, Ephraim, Wi 2015 NEO, Chipstone Foundation, Milwaukee Art Museum, Milwaukee, WI 2015 ICFF, Furniture Society, Javits Convention Center, New York City, NY 2013 Vahki Revisited, The Enduring Spirit of a Craft Collection” Mesa Contemporary Arts, Mesa, AZ 2013 Fearless Furniture, Indiana State Museum and Historic Sites, Indianapolis, IN 2013 Inaugural Exhibition, Museum Wisconsin of Art, West Bend, WI 2012 Sitting Pretty: Furniture from RAM’s Collection, Racine Art Museum, WI 2011 Hiding Places: Memory in the Arts, John Michael Kohler Arts Center, WI 2010 Living with Art, Strohl Art Center, Chautauqua Institution, NY 2009 Summer in Wisconsin, Tory Folliard Gallery, Milwaukee, WI 2009 High Honors, James Watrous Gallery, Madison, WI 2008 Second Lives: Remixing the Ordinary, Museum of Art and Design, NY 2007 Transformation 5: Contemporary Works in Found Materials, Art Association, Jackson, WY 2007 Transformation 5: Contemporary Works in Found Materials, Houston Center for Contemporary Craft, Houston, TX (traveling exhibition) 2006 Show us Your Drawers, Herron School of Art, Indianapolis, IN 2006 Marriage of the Minds, Fairfield Center for Contemporary Art, Sturgeon Bay, WI 2006 27th Annual Contemporary Crafts, Mesa Contemporary Arts, Mesa, AZ 2006 Containers of All Dimensions, Mesa Contemporary Arts, Mesa, AZ 2005 Transformation 5: Contemporary Works in Found Materials, Society for Contemporary Craft, Pittsburgh, PA 2004 Right at Home: American Studio Furniture, Renwick Gallery, Smithsonian American Art Museum, Washington, D.C. 2004 American Collections, Milwaukee Art Museum, Milwaukee, WI 2004 More Than Drawers-Wisconsin Cabinets, Leigh Yawkey Woodson Art Museum, Wausau, WI 2004 Objects of Wonder, John Michael Kohler Arts Center, Sheboygan, WI 2003 Planting, Potting and Pruning, Wustum Museum of Fine Art, Racine, WI 2003 Men at Work, Miller Art Museum, Sturgeon Bay, WI 2002 Case Pieces: Contemporary Studio Furniture, Elvehjem Museum of Art, Univ of WI-Madison 2002 Sitting Pretty: Contemporary Wisconsin Chairs...