This attractive little set of drawers is constructed from Oak. It sits on a plinth and offers four equal drawers. Each drawer has a handle with dark inlaid material which is eye catching. The piece has been stripped and re-finsihed with Osmo Oil to replicate the original appearance

I have seen several similar models attributed to Heals of London.

Height 78 x depth 48 x Width 53.5 cm

After the war Heal’s had a significant presence at the Britain Can Make It exhibition at the Victoria and Albert Museum in 1946, commissioning designers like Alix Stone and pottery firm AE Gray & Co to produce pieces to be displayed.[6][35] In the same year, Heal’s Contracts moved away from war contracts and into the furnishing contracts business.[5] The company backed Clive Latimer and Robin Day’s involvement in the 1948 International Competition for Low-Cost Furniture held by the Museum of Modern Art in New York, where they won first prize for the sole storage unit.[36][37] During the same year, Tom Worthington took charge of Heal’s Wholesale and Export and started to develop the textile side of the business, where Heal’s purchased the cloth, selected the designs and then employed printers to produce the finished article.[5][38] In 1949, the Utility controls were amended so Heal’s could design and manufacture their own furniture, but under the rules set out, it had to be sold at a set price and so had to be produced in larger numbers than Heal’s would normally have done.[5] Heal’s also presented at the 1951 Festival of Britain, with plywood and moulded furniture designs by J. Christopher, several designs from the newly formed textile department and pottery from artists such as Australian contemporaries David Boyd and Hermia Boyd.[6][39] However its biggest contribution was manufacturing 900 perforated steel sheet and steel rod stackable chairs by the designer Andrew John Milne that were used as terrace seating.[40][41] Heal’s itself hosted an exhibition, Scandinavian Design for Living in the same year, the first time the term had been used.[42]

The Utility controls were dropped by the British government in 1952, and a year later Sir Ambrose retired, with Anthony replacing his father as chairman and J. Christopher as design director.[4][5] Heal’s after the war expanded into textiles, using their experiences gained from World War II, with young designers compositions selected by both Tom Worthington and J. Christopher.[5] This included Lucienne Day, whose Calyx design of 1951 won a prize at the 1951 Milan Triennale and from the American Institute of Decorators,[31][43] while other prominent designers were Helen Close, Jane Edgar, Dorothy Lupton, Michael O’Connell, Helen Sampson and Margaret Simeon.[6][44] Day would go on and regularly create patterns for Heal’s throughout the 50s and 60s.

Condition report:

The piece has been stripped and re-finsihed with Osmo Oil to replicate the original appearance