Fritz Hansen X Scandinavia Design

Egg & Swan Chairs


design Arne Jacobsen, 1958

Arne Jacobsen designed the Egg Chair and the Swan Chair for the lobby and reception areas in the Royal Hotel, in Copenhagen. The commission to design every element of the hotel building as well as the furniture was Jacobsen’s grand opportunity to put his theories of integrated design and architecture into practice. The Egg and the Swan are two of the triumphs of Jacobsen’s total design – a sculptural contrast to the building’s almost exclusively vertical and horizontal surfaces.

The Egg and the Swan sprang from a new technique, which Jacobsen was the first to use; a strong foam inner shell underneath the upholstery. Like a sculptor, Jacobsen strove to find the shell’s perfect shape in clay at home in his own garage. Because of the unique shape, the Egg guarantees a bit of privacy in otherwise public spaces and is ideal for lounge and waiting areas as well as the home.

The Egg and the Swan are available in a wide variety of fabric upholstery as well as leather.

In 2021, Fritz Hansen introduced four new finishes for the base, in addition to the classic sateen alumium.

Egg  L86 x P79 x H107 cm – Seat height 37 cm – Footstool L56 x P40 x H37 cm

Swan  L74 x P68 x H77 or H85 cm – Seat height 40 cm or 48 cm

Base star base, tilt and swivel

Option automatic return

Warranty Fritz Hansen offer up to 20 years limited warranty if the products are registered at fritzhansen.com/my-fh

>> See also the Egg & Swan 150th Anniversary

Swan
from 3595 €

Egg
from 6395 €

Egg ottoman
from 1895 €

Fabrics & Leathers

ALUMINIUM

5 base colors: Warm Graphite, Brown Bronze, Silver Grey, Black and Satin Polished Aluminium

examples:

Leather Essential black  (price group 3)
/ Black 

Christianshavn 1175 (price group 0)
/ Silver Grey

Christianshavn 1110 (price group 0)
/ Warm Graphite

Re-Wool 0868 (price group 2)
/ Aluminium 

Christianshavn 1154 (price group 0)
/ Aluminium 

Leather Grace walnut (price group 5)
/ Brown Bronze

Leather Grace walnut (price group 5)
/ Aluminium 

Divina Melange 120 (price group 2)
/ Aluminium 

Hallingdal 674 (price group 2)
/ Aluminium 

Divina 623 (price group 2)
/ Aluminium 

Leather Natural (price group 5)
/ Aluminium 

Leather Grace dark brown (price group 5)
/ Aluminium 

Christianshavn 1133 (price group 0)
/ Aluminium 

Hallingdal 130 (price group 2)
/ Aluminium 

Leather Essential black (price group 3)
/ Aluminium 

Leather Rustik (price group 5
/ Aluminium 

Leather Embrace Concrete (price group 5)
/ Aluminium 

The Swan Chair is available with seat heights 40 and 48 cm

Arne Jacobsen

Arne Jacobsen is born on February 11, 1902 in Copenhagen. His father, Johan Jacobsen, is a wholesale trader in safety pins and snap fasteners. His mother, Pouline Jacobsen, a bank clerk, paints floral motifs in her spare time. The family lived in a typical Victorian style home. As a contrast to his parents’ overly decorated taste, Arne paints his room in white.

 

Background & school relations

He met the Lassen brothers at Nærum Boarding School: later, Flemming Lassen was to become his partner in a series of architectural projects. Arne Jacobsen is a restless pupil, always up to pranks, with a self-deprecating humour. Already as a child, he showed an extraordinary talent for drawing and depicting nature through scrupulous studies. He wants to be painter, but his father felt that architect was a more sensible choice.

 

The Pleasant and the necessary trips abroad

Jacobsen’s travelling begin already in his twenties, when he went to sea to New York. Then followed an apprenticeship as a bricklayer in Germany and a series of study and drawing excursions to Italy. Jacobsen produced some of his finest watercolours during this period, capturing atmospheres and shapes accurately and carefully. From the beginning of his career, Jacobsen turned his gaze abroad, without abandoning Danish traditions.

 

Arne Jacobsen behind the design

Jacobsen production reflects his personality: an insistent, perfectionist modernist, to whom no detail was trivial, although the main picture was basically black/white and unambiguous. On the other hand, the nature-loving botanist and jovial family man: like him, his work is precise and warm, Danish and universal, modern and timeless.