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6 rare lounge version Arne Jacobsen Oxford chairs in vibrant Ferrari red velvet

$7,106.72per set

$8,883.40per set20% Off

£5,160per set

£6,450per set20% Off

€6,137.11per set

€7,671.39per set20% Off

CA$9,889.48per set

CA$12,361.85per set20% Off

A$9,952.62per set

A$12,440.77per set20% Off

CHF 5,776.45per set

CHF 7,220.57per set20% Off

MX$120,860.94per set

MX$151,076.17per set20% Off

NOK 66,353per set

NOK 82,941.25per set20% Off

SEK 68,489.04per set

SEK 85,611.30per set20% Off

DKK 45,876.71per set

DKK 57,345.89per set20% Off

About the Item

A set of 6 rare high back lounge version Arne Jacobsen, for Fritz Hansen Oxford chairs in vibrant Ferrari red coloured velvet with revolving chrome bases. (Please note that whilst this is priced as a set of six I would be happy to sell these chairs in sets of 2 if required, please contact me for details). The Oxford chair was originally designed in 1963 for the professors at St. Catherine’s College at the University of Oxford, England, and were delivered in 1964, with the first production models entering the Fritz Hansen catalogue in 1965. Commissioned by the College in the early 1960s Jacobsen was charged with designing an elegant, high-backed chair for the refectory. The chair was dubbed the Professor chair because it was used at the high table in the dining hall reserved for the Fellows of the college. The high-backed design evokes a sense of authority - almost like a modern reinterpretation of traditional high-backed chairs used in formal settings and elevated the Fellows above the other staff and pupils who sat at tables with benches. The design utilised a handmade seat and back made from a single plywood shell shaped to match the curvature of the human back; the height of the chair was intended to reflect the academic prestige of the institution while providing practical comfort for faculty members whilst dining, but also when adapted for meetings and discussions. Jacobsen may not have seemed an obvious fit for such a stuffy English establishment but his reputation as one of Denmark’s leading modernist architects and designers was well established by the early 1960s. It was his proven ability to integrate architecture and furniture design into a cohesive whole which drew him to the attention of St. Catherine’s College, which was looking for a more modern and sophisticated aesthetic. The resulting design was a great success and became a model of refinement and functional elegance, embodying Jacobsen’s belief that furniture should seamlessly integrate with its environment rather than stand apart as mere decoration. The Evolution of the Design The original version of the Oxford Chair had, and still has, an almost monolithic presence. It towered above any other chair of its generation and was upholstered and set on a simple metal base, reinforcing Jacobsen’s preference for clean, unembellished lines. Over time, the chair evolved into multiple versions, including mid-back and low-back variants, broadening its usability beyond the academic setting. Despite its formal origins, the chair’s ergonomic considerations make it suitable for office and conference environments but also fits within a domestic setting too. The gentle curve of the backrest provides support without unnecessary ornamentation, aligning with Jacobsen’s focus on function over form. Today, the Oxford Chair remains a staple in contemporary offices, boardrooms, and homes proving its adaptability beyond its initial setting. Here we have the last, and rarest, iteration of the chair into a high back, lower slung lounge chair. This version was adapted from the original design and was specifically designed for prestigious reception or lounge areas such as 1st class airport lounges and the executive presentation suites of the top echelon automobile manufacturers. As such it was only ever produced in strictly limited numbers, and only made to order rather than being available through the main Fritz Hansen catalogue. These particular chairs date from 2005 and are presented in very good pre-loved condition with just minor marks and some small dents in the velvet upholstery as expected. There are no, holes rips or tears in the upholstery and the chrome frames are in very good condition with no rust. Each chair also benefits from the original Fritz Hansen manufacturer’s label attached to the base under the seat as shown in the accompanying photos. Production and the Role of Fritz Hansen Jacobsen had a long-standing relationship with Danish manufacturer Fritz Hansen, whose expertise in production techniques helped bring many of his designs to life. The company was integral to the Danish modern movement, working with other key designers such as Hans J. Wegner and Børge Mogensen. Their collaboration with Jacobsen was particularly significant, as they translated his often ambitious design concepts into commercially viable pieces. The Oxford Chair’s production, as an example, ensured that it maintained the same level of craftsmanship and material quality associated with Jacobsen’s demanding vision. Fritz Hansen has also continued to refine the chair, offering it in various finishes, including fabric and leather upholstery, with both swivel and static bases. This adaptability has kept the chair relevant in the ever changing landscape of interior design. Arne Jacobsen Born in 1902 in Copenhagen, Arne Jacobsen trained as an architect at the Royal Danish Academy of Fine Arts. His early work was influenced by the functionalist movement, and he gained international recognition with projects such as the Bellavista housing complex in Klampenborg and later the SAS Royal Hotel in Copenhagen, which featured some of his most iconic furniture designs. Jacobsen’s approach was rooted in the belief that architecture and design should be seamlessly integrated. His furniture designs were never conceived in isolation but rather as part of a broader vision for interior spaces. His ability to balance functionality with aesthetic clarity made him one of the most influential figures in 20th-century design. The Oxford Chair remains as a testament to Jacobsen’s ability to create furniture that is both aesthetically compelling and practically minded. It sits comfortably within his wider body of work, bridging the gap between architecture and furniture design with the same rigor and attention to detail. It may not be as sculptural as the Egg or Swan chairs, but it is no less significant. While originally designed for a very specific context, the chair’s endurance in modern interiors is a testament to Jacobsen’s broader design philosophy: simplicity, functionality, and a respect for materials. It is not a piece, like the Egg chair, that demands attention but rather one that quietly asserts its presence - an enduring hallmark of effective design. Please note that whilst this set is priced as a set of six I would be happy to sell these chairs in sets of 2 if required - please contact me for details. Dimensions H112 X W60 X D70cm Seat height: sloping from front to back 42 – 32cm with a mid-height of 38cm. Arm height: sloping from front to back 62 – 52cm with a mid-height of 58cm.

Creator:
Arne Jacobsen (Designer),Fritz Hansen (Manufacturer)
Dimensions:
Height: 44.1 in (112 cm)Width: 23.63 in (60 cm)Depth: 27.56 in (70 cm)Seat Height: 14.97 in (38 cm)
Sold As:
Set of 6
Style:
Mid-Century Modern (Of the Period)
Materials and Techniques:
Chrome,Velvet
Place of Origin:
Denmark
Period:
2000-2009
Date of Manufacture:
2000s
Condition:
Wear consistent with age and use.
Seller Location:
Highclere, GB
Reference Number:
Seller: AJO61stDibs: LU4278243863302

Shop All Arne Jacobsen

Arne Jacobsen

The eye-catching work of the Danish architect and designer Arne Jacobsen often introduces new collectors to mid-20th century furniture. With their fluid lines and sculptural presence, Jacobsen’s signature pieces — the elegant Swan chair and the cozy-yet-cutting edge Egg chair, both first presented in 1958 — are iconic representations of both the striking aesthetic of the designers of the era and their concomitant attention to practicality and comfort. Jacobsen designed furniture that had both gravitas and groove.

Though Jacobsen is a paragon of Danish modernism, his approach to design was the least “Danish” of those who are counted as his peers. The designs of Hans Wegner, Finn Juhl, Børge Mogensen and others grew out of their studies as cabinetmakers. They prized skilled craftsmanship and their primary material was carved, turned and joined wood. Jacobsen was first and foremost an architect, and while he shared his colleagues’ devotion to quality of construction, he was far more open to other materials such as metal and fiberglass.

Many of Jacobsen’s best-known pieces had their origin in architectural commissions. His molded-plywood, three-legged Ant chair (1952) was first designed for the cafeteria of a pharmaceutical company headquarters. The tall-backed Oxford chair was made for the use of dons at St. Catherine’s College, Oxford, whose Jacobsen-designed campus opened in 1962 (while still under construction). The Swan, Egg and Drop chairs and the AJ desk lamp were all created as part of Jacobsen’s plan for the SAS Royal Copenhagen Hotel, which opened in 1960. (The hotel has since been redecorated, but one guest room has been preserved with all-Jacobsen accoutrements.)

To Jacobsen’s mind, the chief merit of any design was practicality. He designed the first stainless-steel cutlery set made by the Danish silver company Georg Jensen; Jacobsen’s best-selling chair — the plywood Series 7 — was created to provide lightweight, stackable seating for modern eat-in kitchens. But as you will see from the objects on 1stDibs, style never took a backseat to function in Arne Jacobsen’s work. His work merits a place in any modern design collection.

Find authentic Arne Jacobsen chairs, tables, sofas and other furniture on 1stDibs.

Shop All Fritz Hansen

Fritz Hansen

When the Copenhagen-based furniture maker Fritz Hansen opened for business more than 140 years ago, the company — which today styles itself The Republic of Fritz Hansen — adhered to the traditional, time-honored Danish values of craftsmanship in woodworking and joinery. Yet thanks to the postwar innovations of Arne Jacobsen and others, Fritz Hansen would become the country’s leader in Scandinavian modern design using new, forward-looking materials and methods.

Fritz Hansen started his company in 1872, specializing in the manufacture of small furniture parts. In 1915, the firm became the first in Denmark to make chairs using steam-bent wood (a technique most familiar from birch used in the ubiquitous café chairs by Austrian maker Thonet). At the time, Fritz Hansen was best known for seating that featured curved legs and curlicue splats and referenced 18th-century Chippendale designs.

In the next few decades, the company promoted simple, plain chairs with slatted backs and cane or rush seats designed by such proto-modernist masters as Kaare Klint and Søren Hansen. Still, the most aesthetically striking piece Fritz Hansen produced in the first half of the 20th century was arguably the China chair of 1944 by Hans Wegner — and that piece, with its yoke-shaped bentwood back- and armrest, was based on seating manufactured in China during the Ming dynasty. (Wegner was moved by portraits he’d seen of Danish merchants in the Chinese chairs.)

Everything changed in 1952 with Arne Jacobsen’s Ant chair. The collaboration between the architect and Fritz Hansen officially originated in 1934 — that year, Jacobsen created his inaugural piece for the manufacturer, the solid beechwood Bellevue chair for a restaurant commission. The Ant chair, however, was the breakthrough.

With assistance from his then-apprentice Verner Panton, Jacobsen designed the Ant chair for the cafeteria of a Danish healthcare company called Novo Nordisk. The chair was composed of a seat and backrest formed from a single piece of molded plywood attached, in its original iteration, to three tubular metal legs. Its silhouette suggests the shape of the insect’s body, and the lightweight, stackable chair and its biomorphic form became an international hit.

Jacobsen followed with more plywood successes, such as the Grand Prix chair of 1957. The following year he designed the SAS Royal Hotel in Copenhagen and its furnishings, including the Egg chair and the Swan chair. Those two upholstered pieces, with their lush, organic frames made of fiberglass-reinforced polyurethane, have become the two chairs most emblematic of mid-20th-century cool. Moreover, the Egg and Swan led Fritz Hansen to fully embrace new man-made materials, like foam, plastic and steel wire used to realize the avant-garde creations of later generations of designers with whom the firm collaborated, such as Piet Hein, Jørn Utzon (the architect of the Sydney Opera House) and Verner Panton. If the Fritz Hansen of 1872 would not now recognize his company, today’s connoisseurs certainly do.

Find a collection of vintage Fritz Hansen tables, lounge chairs, sofas and other furniture on 1stDibs.