Sorry, looks like we don't have enough of this product.In 1963 Teresa Kruszewska drew a chair that turned upside down to give a second seat height, so one chair could serve children of different ages. It was made once and never again.A chair is rarely meant to stand alone. Curate a set of four or more pieces and enjoy 15% off your entire order. Mix and match our designs freely – any combination of four unlocks your discount.Built on a legacy of mid-century craftsmanship and design, we are dedicated to bringing timeless furniture back to life. We hold exclusive rights to reissue the work of acclaimed designers – faithful to their original drawings, crafted with the care and materials their creations always deserved.We hold exclusive rights to their work, granted by their families. Some pieces are faithful reissues built from original technical drawings. Others extend a designer’s idea into forms they never had the opportunity to implement. In every case, we honour the thinking behind the original vision.Józef Chierowski trained as an architect and designed pianos before fire tore through the Świebodzice factory in 1962. The seat he drew in answer — the 366 Armchair, a light frame cut to essentials — went on to sell over half a million.Rajmund Hałas came back from a scholarship in Finland with an instinct for lightness — structural clarity, nothing spare. It carries straight into the 200-190 of 1963: a slim frame under a single curved backrest, one of the decade's most recognised silhouettes.Henryk Lis lost his left hand as a political prisoner, then drew one of the most quietly elegant chairs of the era: the compact 300-190 of 1966. The state never put his name on it, so the chair took it anyway — today it's the Fox, lis being the Polish word for fox.Edmund Homa learned his discipline designing ship interiors, every centimetre accounted for — and you can see it in the Homa 104 of 1966, a single continuous line closer to sculpture than joinery. A scholarship to Ole Wanscher's studio in Copenhagen followed in 1968.Zenon Bączyk came to furniture from graphic design, and the Stefan gives him away: an openwork back that reads almost as a drawing in space. Early 1960s, low and deep, in the language of Danish modernism — made to be lived in.A stadium in Eindhoven. Hotels on the Mediterranean and the Adriatic. The same pieces you can order, put into spaces that test furniture daily — and keep it for years.