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The Grand Prix Chair with metal legs is featured in many restaurants and museums, such as the ARKEN Modern Art Museum in Ishøj in Denmark. The initial model designed with a wooden base and named Chair 3130, created by Arne Jacobsen in 1957, won the Grand Prix at the Milan Triennale, an award that gave the chair its name. Initially, it was quickly declined in a stackable steel leg version, which is also more economical to produce.
The Grand Prix Chair with metal legs is available in wood veneer, upholstered and painted.
Dimensions W48 x D51 x H83 cm – Seat height 46 cm – Optional: seat heights of 43 cm and 48 cm (please contact us)
Materials Plywood shell with wood veneer : oak, walnut, coloured ash (wood grain visible) or lacquered ash (smooth surface) – Steel tube legs, chromed or powder-coated
Warranty Fritz Hansen offer up to 20 years limited warranty if the products are registered online at fritzhansen.com/my-republic
Oak Grand Prix Chair
(6 possible base finishes)
469 €
oak / chrome
oak / brown bronze
oak / warm graphite
oak / black
oak / silver grey
oak / nine grey
Walnut Grand Prix Chair
(6 possible base finishes)
469 €
walnut / chrome
walnut / brown bronze
walnut / warm graphite
walnut / black
walnut / silver grey
walnut / nine grey
Grand Prix Chair - coloured ash, wood grain visible
389 €
Grand Prix Chair - lacquered ash, smooth surface
399 €
deposit for free samples
95 €
The Grand Prix Chair is available in 16 shell colours and 7 leg finishes. Some examples down here :
coloured ash - black
(chrome legs)
lacquered ash - black
(black legs)
lacquered ash - olive green
(brown bronze legs)
coloured ash - nine grey
(chrome legs)
lacquered ash - white
(white legs)
coloured ash - white
(chrome legs)
coloured ash - deep clay
(silver grey legs)
lacquered ash - light beige shell
(brown bronze legs)
coloured ash - true yellow
(black legs)
lacquered ash - burnt yellow shell
(warm graphite legs)
lacquered ash - paradise orange shell
(brown bronze legs)
coloured ash - pale rose
(chrome legs)
lacquered ash - wild rose shell
(nine grey legs)
lacquered ash - Venetian red shell
(black legs)
coloured ash - lavender blue
(silver grey legs)
lacquered ash - dusk blue shell
(warm graphite legs)
coloured ash - midnight blue
(chrome legs)
coloured ash - evergreen
(black legs)
16 shell colours : pale rose, paradise orange, true yellow, lavender blue, olive green, light beige, white, wild rose, venetian red, burnt yellow, dusk blue, evergreen, deep clay, nine grey, midnight blue or black.
7 leg finishes : chrome, silver grey, white (only with white shells), warm graphite, nine grey, brown bronze, black
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.
