Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is rigorously modular. Every element, from cabinet and desk, draw to shelf cohere as variations of the same basic unit: a horizontal painted wooden element held between vertical alu endplates. As a result, the design is comprehensively rectilinear. Arguably, this unity is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element.

At the level of function, ease and range of use are not sacrificed to formal rigor. The regime of vertical and horizontal elements enables the design's full operation as a system. Shelves of any size may be inverted to produce an unbroken plane when hung adjacently, allowing a freer arrangement of objects for display when bookends are not required. Flexibility of use is thereby achieved by adjustment to the orientation of established elements alone, rather than by introduction of additional forms and materials. It is from this high degree of control that the design derives its particular purity as a system.

And it is precisely the insistence upon systematicity that roots the 606 design in a moment of German industrial design history governed by the general concerns of the Ulm hgf.  Yet the Universal Shelving System also presents an important example of Rams' quite particular development of Ulm functionalism, most notably in the reduction of his material vocabulary to its most fundamental industrial constituents. Alongside the 606 System, Ram's and Gugelot's Braun phonosuper collaboration of four years earlier seems almost coy in its reference to the industrial. Wood finishes provide a 'natural' counterweight to the use of sheet materials. In contrast, the simple and precise alignment of three philips head Xs on an unformed panel of clear lacquered anodised aluminium states something quite different about  the appropriate relation of form, construction and finish to the forms and methods of industrial production: they are identical. 

Vitsœ is well-known for its unswerving commitment to the 606 design, which the company continues to produce to the very highest standards. From an economic standpoint, the change of shelf design from wood to metal made such continuity a viable proposition. This is no little achievement. Neither should we ignore the company's success in maintaining  the vitality of the design by a constant refinement of its details. However, numerous small improvements notwithstanding,  the system as first intended is fundamentally rational, modular and, above all, systematic  to a higher degree than its current production would suggest. Naturally, being Vitsœ, every element of the system offered on these pages may be integrated within any existing Vitsœ system, regardless of age or origin.

example held in MoMA permanent collection

It is possible to purchase any combination of elements stocked. Please ask if you are uncertain. We are happy to give further explanation on how the system works, and advice on possible arrangements tailored to your needs.

view price list

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular. Every element, from cabinet and desk, draw to shelf cohere as variations of the same basic unit: a horizontal painted wooden element held between vertical alu endplates. As a result, the design is rigorously rectilinear. Arguably, this unity is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element.

At the level of function, ease and range of use are not sacrificed to formal rigor. The regime of vertical and horizontal elements enables the design's full operation as a system. Shelves of any size may be inverted to produce an unbroken plane when hung adjacently, allowing a freer arrangement of objects for display when bookends are not required. Significantly, flexibility of use is achieved by adjustment to the orientation of established elements alone, rather than by introduction of additional forms and materials. It is from this high degree of control that the design derives its particular purity as a system.

And it is precisely the insistence upon systematicity that roots the 606 design in a moment of German industrial history governed by the general concerns of the Ulm hgf. Yet the Universal Shelving System also presents an important example of Rams' quite particular development of Ulm functionalism, most notably in the reduction of his material vocabulary to its most fundamental industrial constituents. Alongside the 606 System, Ram's and Gugelot's Braun SK phonosuper series collaboration of four years earlier appears coyly industrial. 'Natural' wood finishes soften the effect of industrial sheet materials. In contrast, the simple and precise alignment of three philips head Xs on an unformed panel of clear lacquered anodised aluminium states something quite different about the appropriate relation of form, construction and finish to the forms and methods of industrial production: they are directly identical.

The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living... Naturally, being Vitsœ, every element of the system offered on these pages may be integrated within any existing Vitsœ system, regardless of age or origin.

example held in MoMA permanent collection

It is possible to purchase any combination of elements stocked. Please ask if you are uncertain. We are happy both to supply further technical explanation on how the system works, and to offer suggestions on possible configurations.

see price list
 

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular. Every element, from cabinet and desk, draw to shelf cohere as variations of the same basic unit: a horizontal painted wooden element held between vertical alu endplates. As a result, the design is rigorously rectilinear. Arguably, this unity is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element.

At the level of function, ease and range of use are not sacrificed to formal rigor. The regime of vertical and horizontal elements enables the design's full operation as a system. Shelves of any size may be inverted to produce an unbroken plane when hung adjacently, allowing a freer arrangement of objects for display when bookends are not required. Significantly, flexibility of use is achieved by adjustment to the orientation of established elements alone, rather than by introduction of additional forms and materials. It is from this high degree of control that the design derives its particular purity as a system.

And it is precisely the insistence upon systematicity that roots the 606 design in a moment of German industrial history governed by the general concerns of the Ulm hgf. Yet the Universal Shelving System also presents an important example of Rams' quite particular development of Ulm functionalism, most notably in the reduction of his material vocabulary to its most fundamental industrial constituents. Alongside the 606 System, Ram's and Gugelot's Braun SK phonosuper series collaboration of four years earlier appears coyly industrial. 'Natural' wood finishes soften the effect of industrial sheet materials. In contrast, the simple and precise alignment of three philips head Xs on an unformed panel of clear lacquered anodised aluminium states something quite different about the appropriate relation of form, construction and finish to the forms and methods of industrial production: they are directly identical.

The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living... Naturally, being Vitsœ, every element of the system offered on these pages may be integrated within any existing Vitsœ system, regardless of age or origin.

example held in MoMA permanent collection

It is possible to purchase any combination of elements stocked. Please ask if you are uncertain. We are happy both to supply further technical explanation on how the system works, and to offer suggestions on possible configurations.

price: on application

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular. Every element, from cabinet and desk, draw to shelf cohere as variations of the same basic unit: a horizontal painted wooden element held between vertical alu endplates. As a result, the design is rigorously rectilinear. Arguably, this unity is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element.

At the level of function, ease and range of use are not sacrificed to formal rigor. The regime of vertical and horizontal elements enables the design's full operation as a system. Shelves of any size may be inverted to produce an unbroken plane when hung adjacently, allowing a freer arrangement of objects for display when bookends are not required. Significantly, flexibility of use is achieved by adjustment to the orientation of established elements alone, rather than by introduction of additional forms and materials. It is from this high degree of control that the design derives its particular purity as a system.

And it is precisely the insistence upon systematicity that roots the 606 design in a moment of German industrial history governed by the general concerns of the Ulm hgf. Yet the Universal Shelving System also presents an important example of Rams' quite particular development of Ulm functionalism, most notably in the reduction of his material vocabulary to its most fundamental industrial constituents. Alongside the 606 System, Ram's and Gugelot's Braun SK phonosuper series collaboration of four years earlier appears coyly industrial. 'Natural' wood finishes soften the effect of industrial sheet materials. In contrast, the simple and precise alignment of three philips head Xs on an unformed panel of clear lacquered anodised aluminium states something quite different about the appropriate relation of form, construction and finish to the forms and methods of industrial production: they are directly identical.

The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living... Naturally, being Vitsœ, every element of the system offered on these pages may be integrated within any existing Vitsœ system, regardless of age or origin.

example held in MoMA permanent collection

it is possible to purchase any combination of elements stocked

price: on application

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular. Every element, from cabinet and desk, draw to shelf cohere as variations of the same basic unit: a horizontal painted wooden element held between vertical alu endplates. As a result, the design is rigorously rectilinear. Arguably, this unity is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element.

At the level of function, ease and range of use are not sacrificed to formal rigor. The regime of vertical and horizontal elements enables the design's full operation as a system. Shelves of any size may be inverted to produce an unbroken plane when hung adjacently, allowing a freer arrangement of objects for display when bookends are not required. Significantly, flexibility of use is achieved by adjustment to the orientation of established elements alone, rather than by introduction of additional forms and materials. It is from this high degree of control that the design derives its particular purity as a system.

And it is precisely the insistence upon systematicity that roots the 606 design in a moment of German industrial history governed by the general concerns of the Ulm hgf. Yet the Universal Shelving System also presents an important example of Rams' quite particular development of Ulm functionalism, most notably in the reduction of his material vocabulary to its most fundamental industrial constituents. Alongside the 606 System, Ram's and Gugelot's Braun SK phonosuper series collaboration of four years earlier appears coyly industrial. 'Natural' wood finishes soften the effect of industrial sheet materials. In contrast, the simple and precise alignment of three philips head Xs on an unformed panel of clear lacquered anodised aluminium states something quite different about the appropriate relation of form, construction and finish to the forms and methods of industrial production: they are directly identical.

The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living... Naturally, being Vitsœ, every element of the system offered on these pages may be integrated within any existing Vitsœ system, regardless of age or origin.

example held in MoMA permanent collection

It is possible to purchase any combination of elements stocked. Please ask if you are uncertain. We are happy both to supply further technical explanation on how the system works, and to offer suggestions on possible configurations.

price: on application 

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular. Every element, from cabinet and desk, draw to shelf cohere as variations of the same basic unit: a horizontal painted wooden element held between vertical alu endplates. As a result, the design is rigorously rectilinear. Arguably, this unity is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element.

At the level of function, ease and range of use are not sacrificed to formal rigor. The regime of vertical and horizontal elements enables the design's full operation as a system. Shelves of any size may be inverted to produce an unbroken plane when hung adjacently, allowing a freer arrangement of objects for display when bookends are not required. Significantly, flexibility of use is achieved by adjustment to the orientation of established elements alone, rather than by introduction of additional forms and materials. It is from this high degree of control that the design derives its particular purity as a system.

And it is precisely the insistence upon systematicity that roots the 606 design in a moment of German industrial history governed by the general concerns of the Ulm hgf. Yet the Universal Shelving System also presents an important example of Rams' quite particular development of Ulm functionalism, most notably in the reduction of his material vocabulary to its most fundamental industrial constituents. Alongside the 606 System, Ram's and Gugelot's Braun SK phonosuper series collaboration of four years earlier appears coyly industrial. 'Natural' wood finishes soften the effect of industrial sheet materials. In contrast, the simple and precise alignment of three philips head Xs on an unformed panel of clear lacquered anodised aluminium states something quite different about the appropriate relation of form, construction and finish to the forms and methods of industrial production: they are directly identical.

The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living... Naturally, being Vitsœ, every element of the system offered on these pages may be integrated within any existing Vitsœ system, regardless of age or origin.

example held in MoMA permanent collection

it is possible to purchase any combination of elements stocked

price: on application

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular. Every element, from cabinet and desk, draw to shelf cohere as variations of the same basic unit: a horizontal painted wooden element held between vertical alu endplates. As a result, the design is rigorously rectilinear. Arguably, this unity is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element.

At the level of function, ease and range of use are not sacrificed to formal rigor. The regime of vertical and horizontal elements enables the design's full operation as a system. Shelves of any size may be inverted to produce an unbroken plane when hung adjacently, allowing a freer arrangement of objects for display when bookends are not required. Significantly, flexibility of use is achieved by adjustment to the orientation of established elements alone, rather than by introduction of additional forms and materials. It is from this high degree of control that the design derives its particular purity as a system.

And it is precisely the insistence upon systematicity that roots the 606 design in a moment of German industrial history governed by the general concerns of the Ulm hgf. Yet the Universal Shelving System also presents an important example of Rams' quite particular development of Ulm functionalism, most notably in the reduction of his material vocabulary to its most fundamental industrial constituents. Alongside the 606 System, Ram's and Gugelot's Braun SK phonosuper series collaboration of four years earlier appears coyly industrial. 'Natural' wood finishes soften the effect of industrial sheet materials. In contrast, the simple and precise alignment of three philips head Xs on an unformed panel of clear lacquered anodised aluminium states something quite different about the appropriate relation of form, construction and finish to the forms and methods of industrial production: they are directly identical.

The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living... Naturally, being Vitsœ, every element of the system offered on these pages may be integrated within any existing Vitsœ system, regardless of age or origin.

example held in MoMA permanent collection

it is possible to purchase any combination of elements stocked

price: on application 

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular. Every element, from cabinet and desk, draw to shelf cohere as variations of the same basic unit: a horizontal painted wooden element held between vertical alu endplates. As a result, the design is rigorously rectilinear. Arguably, this unity is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element.

At the level of function, ease and range of use are not sacrificed to formal rigor. The regime of vertical and horizontal elements enables the design's full operation as a system. Shelves of any size may be inverted to produce an unbroken plane when hung adjacently, allowing a freer arrangement of objects for display when bookends are not required. Significantly, flexibility of use is achieved by adjustment to the orientation of established elements alone, rather than by introduction of additional forms and materials. It is from this high degree of control that the design derives its particular purity as a system.

And it is precisely the insistence upon systematicity that roots the 606 design in a moment of German industrial history governed by the general concerns of the Ulm hgf. Yet the Universal Shelving System also presents an important example of Rams' quite particular development of Ulm functionalism, most notably in the reduction of his material vocabulary to its most fundamental industrial constituents. Alongside the 606 System, Ram's and Gugelot's Braun SK phonosuper series collaboration of four years earlier appears coyly industrial. 'Natural' wood finishes soften the effect of industrial sheet materials. In contrast, the simple and precise alignment of three philips head Xs on an unformed panel of clear lacquered anodised aluminium states something quite different about the appropriate relation of form, construction and finish to the forms and methods of industrial production: they are directly identical.

The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living... Naturally, being Vitsœ, every element of the system offered on these pages may be integrated within any existing Vitsœ system, regardless of age or origin.

example held in MoMA permanent collection

it is possible to purchase any combination of elements stocked

price: on application 

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular. Every element, from cabinet and desk, draw to shelf cohere as variations of the same basic unit: a horizontal painted wooden element held between vertical alu endplates. As a result, the design is rigorously rectilinear. Arguably, this unity is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element.

At the level of function, ease and range of use are not sacrificed to formal rigor. The regime of vertical and horizontal elements enables the design's full operation as a system. Shelves of any size may be inverted to produce an unbroken plane when hung adjacently, allowing a freer arrangement of objects for display when bookends are not required. Significantly, flexibility of use is achieved by adjustment to the orientation of established elements alone, rather than by introduction of additional forms and materials. It is from this high degree of control that the design derives its particular purity as a system.

And it is precisely the insistence upon systematicity that roots the 606 design in a moment of German industrial history governed by the general concerns of the Ulm hgf. Yet the Universal Shelving System also presents an important example of Rams' quite particular development of Ulm functionalism, most notably in the reduction of his material vocabulary to its most fundamental industrial constituents. Alongside the 606 System, Ram's and Gugelot's Braun SK phonosuper series collaboration of four years earlier appears coyly industrial. 'Natural' wood finishes soften the effect of industrial sheet materials. In contrast, the simple and precise alignment of three philips head Xs on an unformed panel of clear lacquered anodised aluminium states something quite different about the appropriate relation of form, construction and finish to the forms and methods of industrial production: they are directly identical.

The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living... Naturally, being Vitsœ, every element of the system offered on these pages may be integrated within any existing Vitsœ system, regardless of age or origin.

example held in MoMA permanent collection

it is possible to purchase any combination of elements stocked

price: on application

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular. Every element, from cabinet and desk, draw to shelf cohere as variations of the same basic unit: a horizontal painted wooden element held between vertical alu endplates. As a result, the design is rigorously rectilinear. Arguably, this unity is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element.

At the level of function, ease and range of use are not sacrificed to formal rigor. The regime of vertical and horizontal elements enables the design's full operation as a system. Shelves of any size may be inverted to produce an unbroken plane when hung adjacently, allowing a freer arrangement of objects for display when bookends are not required. Significantly, flexibility of use is achieved by adjustment to the orientation of established elements alone, rather than by introduction of additional forms and materials. It is from this high degree of control that the design derives its particular purity as a system.

And it is precisely the insistence upon systematicity that roots the 606 design in a moment of German industrial history governed by the general concerns of the Ulm hgf. Yet the Universal Shelving System also presents an important example of Rams' quite particular development of Ulm functionalism, most notably in the reduction of his material vocabulary to its most fundamental industrial constituents. Alongside the 606 System, Ram's and Gugelot's Braun SK phonosuper series collaboration of four years earlier appears coyly industrial. 'Natural' wood finishes soften the effect of industrial sheet materials. In contrast, the simple and precise alignment of three philips head Xs on an unformed panel of clear lacquered anodised aluminium states something quite different about the appropriate relation of form, construction and finish to the forms and methods of industrial production: they are directly identical.

The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living... Naturally, being Vitsœ, every element of the system offered on these pages may be integrated within any existing Vitsœ system, regardless of age or origin.

example held in MoMA permanent collection

it is possible to purchase any combination of elements stocked

price: on application

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular - every element, from cabinet and desk, draw unit to shelf cohering as variations of the same basic unit, that is, horizontal wooden element between vertical alu endplates. In its original form, the design overall is rigorously rectilinear. Arguably, this character is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element. The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. It is also a degree more flexible. Shelves of any size may be inverted to produce an unbroken plane, allowing freer arrangement of objects when bookends are not required. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living...

Naturally, being Vitsoe, every element of the system offered on these pages may be integrated into an existing Vitsoe system, regardless of age or origin.

example held in MoMA permanent collection

price: on application

Dieter Rams' 606 Universal Shelving System has been in continuous production since 1960. However, certain changes have been introduced along the way. One of the most significant has been the substitution of wooden shelves with alu endplates for bent steel shelves, once a special use item, now supplied by Vitsoe as standard. The virtue of the wooden shelf over the metal is largely aesthetic / design-historical.

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular - every element, from cabinet and desk, draw unit to shelf cohering as variations of the same basic unit, that is, horizontal wooden element between vertical alu endplates. In its original form, the design overall is rigorously rectilinear. Arguably, this character is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element. The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. It is also a degree more flexible. Shelves of any size may be inverted to produce an unbroken plane, allowing freer arrangement of objects when bookends are not required. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living...

Naturally, being Vitsoe, every element of the system offered on these pages may be integrated into an existing Vitsoe system, regardless of age or origin.

example held in MoMA permanent collection

price: on application

Dieter Rams' 606 Universal Shelving System has been in continuous production since 1960. However, certain changes have been introduced along the way. One of the most significant has been the substitution of wooden shelves with alu endplates for bent steel shelves, once a special use item, now supplied by Vitsoe as standard. The virtue of the wooden shelf over the metal is largely aesthetic / design-historical.

Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular - every element, from cabinet and desk, draw unit to shelf cohering as variations of the same basic unit, that is, horizontal wooden element between vertical alu endplates. In its original form, the design overall is rigorously rectilinear. Arguably, this character is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element. The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. It is also a degree more flexible. Shelves of any size may be inverted to produce an unbroken plane, allowing freer arrangement of objects when bookends are not required. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living...

Naturally, being Vitsoe, every element of the system offered on these pages may be integrated into an existing Vitsoe system, regardless of age or origin.

example held in MoMA permanent collection

price: on application 

 Most significantly, it allows full expression of the 606 design's systematic character. According to the original intent, the system is comprehensively modular - every element, from cabinet and desk, draw unit to shelf cohering as variations of the same basic unit, that is, horizontal wooden element between vertical alu endplates. In its original form, the design overall is rigorously rectilinear. Arguably, this character is somewhat suppressed when the metal shelf is incorporated, particularly so when it appears as the predominant element. The system as first intended is rational, modular and, above all, systematic to a higher degree than its current production would suggest. It is also a degree more flexible. Shelves of any size may be inverted to produce an unbroken plane, allowing freer arrangement of objects when bookends are not required. We note that in his Kronberg home, Dieter Rams uses the metal shelf for load bearing in storage areas and the wooden shelf in the living...

Naturally, being Vitsoe, every element of the system offered on these pages may be integrated into an existing Vitsoe system, regardless of age or origin.

example held in MoMA permanent collection

price: on application

Arguably, the 601 design produces a more technical appearance: shell, leg supports and seat are clearly articulated as separate elements. Details such as striated bold coloured upholstery, a textured matt paint finish on the legs, fluting within the leg and the expression of casting seams reinforce the chair's presentation of a tightly coordinated grouping. The fully  upholstered 602 design has a more reduced aspect. Complete covering of the shell limits the play of elements to two: at the level of material - the conjunction of satin finished aluminium with plush upholstery, at the level of function - seat and support. Overall, the tone is both more domestic and, in the most understated terms, of course, more luxurious. Never produced in numbers large enough to be economically viable, the 601 / 602 has long been out of production. The last models were made to order until the early 1980's. An admirable commitment to the Vitsoe programm, as then was, this set the company on course for bankruptcy, only averted by a change of management and subsequent restriction of the extensive programm to the 606 and 620 designs.

Dimensions: width 60 cm / seat height 30 cm / back height 68cm from floor

Condition: The chair is offered in very good vintage condition. The legs show a few areas of light scratching. Upholstery is generally in good order - a little worn and slightly faded around the corners, with one small hole on the leading edge of the front left corner, only visible on close inspection. Overall the chair is highly presentable. Please contact us for further images and a full condition report.

Price: £--

price: £1100