lock he e d
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thE lockhEEd loungE by marc nEwson
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the lockheed lounge by marc newson
to be offered for sale as lot 226
design evening sale 28 april 2015 at 6pm viewing 22 - 28 april 3o berkeley square london
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When I frst met Marc Newson in 1998, I was struck by the prominence he had achieved by that time. He was a real design hero. His unique vocabulary—curvature, fuidity, material experimentation—has made his work so readily identifable. Marc has always executed his ideas with great control and accuracy, thereby creating a consistently strong body of work. A true designer, Marc has a refned sense of connection between his many interests: product, limited editions, aviation, transportation, watches, fashion, and interior architecture. When Marc sculpted Lockheed Lounge in 1988, he gave voice to his own futuristic yearnings, a key to understanding his work today. You could see the future unfolding as he uncovered the form hidden in its block of foam. A collision of youth culture and surf culture, and underpinned by academic study, the Lockheed Lounge is a symbol of innovative late twentieth-century design and of the designer’s hope for the twenty-frst century. The Phillips Design department is honoured to ofer the present Lockheed Lounge at auction. It is a privilege, for a brief moment, to play a small role in the life of this work, one of the twentieth century’s greatest designs. A few years ago Phillips hosted the London Design Festival’s Designer of the Year dinner. I was asked to describe Marc, who won the medal; he was then, and he remains, “the twenty-frst century Renaissance man.”
ALexANDeR PAYNe Senior Director & Worldwide Head Design
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“Marc is the best of designers: conscious of the past, alive to the present, and boldly futuristic. In that, Lockheed Lounge is the mark of the man.” SIR Jonathan Ive, SenIoR vIce PReSIdent of deSIgn, aPPle San francisco, april 2015
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“Marc Newson matters because he is diferent in a world of sameness.” j mays, chief creative officer, ford motor company
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© Marc Newson Studio, 2015.
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THE LOCKHEED LOUNGE iN CONTExT By LiBBy SELLErS
European furniture design of the 1980s was characterised by two extremes: on the one hand the famboyant post-modern style of Ettore Sottsass and Milan’s Memphis group; on the other (a tightly clenched fst) the punk-inspired ‘creative salvage’ spirit of ron Arad and Tom Dixon, who forged ahead with found or industrialised materials. Although he was a world away in Australia, Marc Newson was neither unaware nor immune from these divergent styles. in that context, his iconic Lockheed Lounge can be read as both industrial and post-modern—a punk Mad Max approach to futurism. Newson’s geographical detachment from Europe permitted him to surf nimbly over the two aesthetics, creating a unique design vocabulary that was both subtly antique yet strikingly fresh. ‘if i’d been studying design in italy, i’d have found that tradition really stifing,’ he said. ‘Coming from Australia, my design was self-taught and instinctive.’ The ‘tyranny of distance’ ironically ofered Newson some respite from the torrent of 150 years of industrial design history. Nonetheless his work during these early years in Australia was not without historical departure points. Newson was born in Sydney in 1963. Afer a peripatetic childhood in Eastern Australia, Asia, and Europe, he returned to study sculpture and jewellery design at Sydney College of the Arts. By ‘borrowing’ copies of Domus and Ottogano from the newsagent where he worked part-time, Newson absorbed both the historical as well as the contemporary cultural currents blowing across from European design
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studios. While his interest in the work of modern designers grew, his most visible infuences during the early stage were traditional and specifcally neo-classical. As he has said of Lockheed Lounge, its ‘fuid metallic form [was] loosely’ based on the chaise longue he’d seen in reproductions of Jacques-Louis David’s neo-classical portrait of Madame Récamier. David’s painting of 1800, its evocative imagery poignantly interweaving themes of seduction, death, and laughter, has been cited as an important infuence on the development and popularisation of the chaise longue in early nineteenth-century interiors. In her role as salonnière to the city’s political and cultural elite, Jeanne-Françoise Julie Adélaïde Récamier was regarded as the toast of post-Revolutionary Paris. When frst unveiled, David’s portrait of her sparked a feverish interest that swept across the Continent. During the Empire period, the social codes attached to parlour etiquette, and the more precisely defned role of women as arbiters of morals and manners, excluded them from reclining in ‘polite society’ and ensured that they did so in the confnes of private quarters. As a visual signifer, the chaise longue was, with David’s scenographic brushstroke, imbued with notions of privacy, seduction, and, in Madame Récamier’s case, entrée into a highly sophisticated inner sanctum. Lockheed Lounge ofers this same frisson. Sculpted from a foam surfoard blank, then cast in fbreglass, its core is sheathed in hand-hammered, thin-walled aluminium sheets fxed with blind rivets. Despite its austere materials, the chair’s curvaceous form is undeniably sensual and provocative, a quality that earned it a starring role in Madonna’s 1993 Rain video. Because of its formal rigor, Newson’s chair truly takes fight. Named afer the American aircraf manufacturer, Lockheed Lounge is a palpable metaphor for an airplane fuselage; more
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Jacques-Louis David, Madame RĂŠcamier, 1800, oil on canvas. Courtesy Erich Lessing/Art Resource, NY.
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broadly it’s an acknowledgement of Newson’s lifelong fascination with aviation and suggests a nostalgic yearning for the optimistic era of post-war aircraf technology. Through its labour-intensive, artisanal production, Lockheed Lounge reveals an inherent understanding of the relationship between the human body and the object. Newson’s sculptural sensibility, informed by his training as a jeweller, has drawn parallels between Lockheed Lounge and Torso in Space (1936), Alexander Archipenko’s aluminium bolide. Writing of his own work, the Ukrainian-born Archipenko noted, ‘Refection enriches the efect of the object… it can amplify or reduce the efect of forms, colours or line; it can transform shadow according to the positions of the planes or the concave or convex bending of the refecting metal. Refections express depth and space; they absorb the entire environment to which they are exposed...’ As one of the most discussed and coveted design objects of the last quarter century, the Lockheed Lounge absorbs, amplifes, and refects the environment from which its futuristic sensuality emerged; it’s an early, break-through work that established Newson’s method as an ‘experimental exercise’ in extreme structures combined with a tactile and rigorous exploration of materials, processes and skills. Lockheed Lounge encapsulated his distinctive position outside any existing aesthetic movement while drawing on varied sources including neo-classicism, biomorphism, the space race, and surf culture. That it remains a constant in cultural and academic dialogue twentyseven years afer its shimmering form evolved, Lockheed Lounge is a defning object in the vocabulary of twenty-frst century aesthetics. ◆
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Alexander Archipenko, Torso in Space, ca. 1936. Jordan Schnitzer Museum of Art, University of Oregon. Am11:Ar1..1
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ALISON CASTLE ON MARC NEWSON’S LOCKHEED LOUNGE
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Marc Newson’s approach to design is as much about solving problems as it is about fnding innovative ways to communicate ideas. Materials are given new tasks that had, in many cases, never been asked of them before. Playful shapes expose fuid interiors and palpable voids. From science he borrows patterns and forms; from science fction, futuristic concepts. Each piece begins with an idea, material, or sometimes even a challenge, and the thought process used to reach a conclusion brings about a work that speaks volumes through a minimum of visual information. When designing a car, Newson began by reducing the very concept of the automobile down to a plain boxy shape with four wheels. When designing a bicycle, he singled out the most vital elements (wheels, seat, handle bars) and connected them with a single line. That his designs are harmonious and aesthetically pleasing is a by-product of the elegant logic that brought them into being. Newson doesn’t privilege ideas over methods, nor methods over ideas. Though they are both equally important to the end result, he cares little about which comes frst. The most important and thrilling part of the process is what happens between inception and the fnal result—an ofen surprising and enlightening experience.
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In Newson’s work, ideas, forms, designs, and materials evolve, mutate, submerge, and resurface as new techniques become available and forgotten materials re-emerge. Suspended outside of time altogether by virtue of their existence in a reality free of trend and ornament, Newson’s designs provoke powerful reactions. Collectors vie to own his works, driving auction prices up to record levels. Rarely can designers coexist in the industrial design and art worlds, and never with the ease and success that Marc Newson has. Having completed two riveted aluminium pieces and still desiring to make another piece using the same process, Newson felt compelled to revisit his LC1 lounge of 1986 with the hope of coming closer to his original goal for that piece. He wanted to address two issues, the frst being that the LC1 felt ‘too derivative and postmodern’ and the second that the form was not as ambiguous or as fuid as he had intended. More than anything, the LC1 had ofered Newson an introduction to working with riveted aluminium and a starting point for producing fuid forms. Having gained more experience working with aluminium, by 1988 Newson was in a position to streamline the shape of the lounge in a way he had been unable to accomplish two years previously.
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Marc Newson applying fller to the Lockheed Lounge’s polyurethane form, Sydney, circa 1988 © Marc Newson Studio, 2015.
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Marc Newson refning the original rigid polyurethane form with a wire brush, Sydney, circa 1988 Š Marc Newson Studio, 2015.
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Though the LC1 is ofen referred to as a prototype for the Lockheed Lounge, this is not technically accurate. The LC1 was produced as an art object for an exhibition and was never intended for production (no mold was produced), whereas the Lockheed was designed to be made in an edition of multiples. Nevertheless, the process that began in 1985 with the inception of the LC1 and ended in 1988 with the completion of the Lockheed can be considered a continuous undertaking that resulted in a fully resolved, “purifed” work of art. The name “Lockheed Lounge” actually originated as a nickname for the LC1, a reference to the resemblance of its riveted panels to those of an old aircraf. Though Newson had not originally planned this efect when making the LC1, he was very pleased with it—enough so to ofcially title his ultimate riveted furniture piece afer the American company famous for its World War II fghter planes. As he had for the LC1, Newson frst drew the form’s side profle onto the block of foam and then fashioned it with a saw. He completed the shape by freeform sanding with sandpaper and a wire brush until he was satisfed with the form. No other tools or gauges were used; the symmetry was simply eyeballed. Newson likened the experience to the feeling Michelangelo is said to have had when carving a sculpture out of marble: that he was releasing the shape from the block, simply eliminating the negative space around the object already contained within. For the Lockheed Lounge, Newson was satisfed with his frst attempt, completed within about a day’s worth of carving. Once the mold and prototype were complete, he began the riveting process.
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To achieve the level of precision and perfection he intended for a piece with more sophisticated and complex curves than the LC1 and the Pod of Drawers, Newson used thin sheets of a purer grade of aluminium, which was more malleable than an alloy. Rather than use sandbags for hammering out nonspecifc shapes, he made additional molds of fbreglass from the Lockheed’s form purely for hammering the aluminium panels. This helped Newson to achieve the precise contours, but to assemble the panels together on the lounge, each had to be individually cut and fled to ft. For this reason, each Lockheed in the edition is unique, taking up to six months to produce. The prototype difers slightly from the rest of the edition in the fnishing of the feet, which have fbreglass showing where aluminium stops; the pieces in the edition have rubberized paint covering the feet. The frst Lockheed was not immediately sold, but it was widely published in the press and helped establish Newson’s presence as a designer. In the ensuing years, the Lockheed’s popularity grew until it became virtually ubiquitous in the design and art worlds. It has become an iconic piece, closely associated in retrospect with the paradigm shif that took place in the late 1980s with the emergence of the design-art phenomenon. Its price at auction has consistently increased and in 2006 the Lockheed broke the record for the highest price paid for a piece by a living designer (in 2010, the Lockheed broke its own record when one sold for $2,098,500). For Newson, the rivet, which he abandoned afer the Lockheed, “was a means to an end, like any other form of fxation, but it ended up having an enormous amount of character, to such an overbearing amount that I didn’t want to work with it again until I actually made [the Kelvin40] airplane.” ◆ Excerpted with permission of the author, Marc Newson: Works, Taschen, 2012
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Lockheed Lounge “plug” drying, Sydney, circa 1988 © Marc Newson Studio, 2015.
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Marc Newson, Orgone Stretch Lounge, circa 1993. Phillips, London, ‘Design’, 25 April 2013, lot 227 © Marc Newson Studio, 2015.
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A GOOd fIGURE By AlEx HEMINWAy, dIRECTOR Of dESIGN, pHIllIpS, NEW yORk
Who can resist a good fgure? Not Marc Newson. Since frst riveting Lockheed Lounge in the late 1980s, he has returned again and again to the hourglass shape as inspiration for much of his work: Pod of Drawers, Embryo Chair, and Orgone Lounge. Airplanes, cars, and surfoards are metaphors for Newson, their construction and materials a common point of departure, but the human torso is as fertile a seed for his imagination. Newson is at heart organic, in the vital not voguish sense. The seat and backrest of his Felt Chair stretches and bends like a torso. His related Wicker Lounge recalls a nubile in repose, or two. Lockheed Lounge set the stage for these later works. Even Newson’s everyday products—pepper grinders, bath pillows, bottle openers, watches—are buxom. Objects resonate when they relate to us. A Newson maxim might read: one must mimic the body to hold the body. At Sydney College of the Arts, Newson studied sculpture, jewelry, and furniture design. In 1984 he graduated with the outlines of a plan: technical materials, futurism, fuidity—and with inexperience, the burden of every graduate. The following year he conceived his LC1 chaise longue (a precursor to Lockheed Lounge), which he exhibited at the Roslyn Oxley9 Gallery in Sydney in June 1986. Unsatisfed with the scrolling backrest of that frst chair, he refned its lines and arrived at the Lockheed Lounge, which he shaped from foam. Newson shaped Lockheed Lounge from foam, as he would have a surfoard ‘blank’, with a wire brush and a Stanley Surform plane. His intention had been to cover its fbreglass
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“My sculptural work and the production furniture have always had as much to do with what is not there as what is there—the voids, the interior spaces, the things that you don’t see.” marc newson
core (cast from a lost mould) with a single sheet of aluminium: “I tried laminating it, but the thing fell apart… eventually, I came up with the idea of beating little pieces of metal into shape with a wooden mallet, and attaching them with rivets.” a hallmark of newson’s later work is “seamlessness”, to quote Louise neri. smoothness triumphs: neither joint nor junction disrupts the contours of his alessi tray, for example, or his more recent extruded marble tables shown at Gagosian Gallery in 2007. Lockheed Lounge, furrowed with seams, beguiles for the opposite reason: imperfection. Flat-head rivets literally and visually suture together a patchwork of aluminium. seams betray newson’s limitations, but his chair’s fuid silhouette afrms its maker’s search for a clear ideal. at its core— fbreglass-reinforced polyester—Lockheed Lounge is seamless.
marc newson, Surfoard, 2007, Gagosian Gallery © marc newson studio, 2015.
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In 1943 the Lockheed corporation transformed air travel by christening its L049 constellation, a radical airliner capable of transatlantic runs at 500 km/h. nearly a half century later, newson transformed the design market with his coyly named Lockheed Lounge, an immediate critical success. But like the constellation—a propeller-driven plane—marc newson had not yet achieved mach 1 speeds. The hand-wrought curves of his chair hint at fundamental human limitations while simultaneously suggesting the perfection of industrial processes. Lockheed Lounge, a paragon of youthful ambition, engendered all of newson’s later preoccupations with fow and speed. ◆
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226 PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION
Marc NewsoN b. 1963 Lockheed Lounge, circa 1990 Fibreglass-reinforced polyester resin core, blind-riveted sheet aluminium, rubber-coated polyester resin. 87 x 168.3 x 61.6 cm (34 1/4 x 66 1/4 x 24 1/4 in.) Handmade by Marc Newson at Basecraf for Pod, Australia. Number 10 from the edition of 10 plus 4 artist’s proofs and 1 prototype. Underside impressed with BASECRAFT SYDNEY. Together with a certifcate of authenticity signed by the artist. Estimate £1,500,000-2,500,000 $2,230,000-3,710,000 €2,040,000-3,400,000 Ω provenance The Gallery Mourmans, Maastricht Christie’s, New York, ‘Contemporary Art Evening Sale’ 16 May 2000, lot 7 Private collection, Italy, acquired from the above Geofrey Diner Gallery, Washington D.C. Private collection Geofrey Diner Gallery, Washington D.C. exhibited The present example was on view during the autumn of 2013 in the Modern and Contemporary Art galleries at The Metropolitan Museum of Art, New York, where it was on loan from 2013 to 2015. The Lockheed Lounge will be included as ‘MN – 14LLB – 1988’ in the forthcoming catalogue raisonné of limited editions by Marc Newson being prepared by Didier Krzentowski of Galerie kreo, Paris.
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Detail of the present lot
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LITERATURE Davina Jackson, ‘Open the Pod Door’, Blueprint, February 1990, pp. 28–29 Mario Romanelli, ‘Marc Newson: Progetti tra il 1987 e il 1990’, Domus, March 1990, p. 67 Alexander von Vegesack, et al., eds., 100 Masterpieces from the Vitra Design Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein, 1996, inside front cover, back cover and pp. 172–73 Mel Byars, 50 Chairs: Innovations in Design and Materials, Crans-Prés-Celigny, 1997, pp. 94–97 Charlotte and Peter Fiell, eds., 1000 Chairs, Cologne, 1997, p. 605 Alice Rawsthorn, Marc Newson, London, 1999, pp. 9, 11, 18–20 Sarah Nichols, Aluminum by Design, exh. cat., Carnegie Museum of Art, Pittsburgh, 2000, front and back covers and p. 264 Conway Lloyd Morgan, Marc Newson, London, 2002, pp. 154–55 Benjamin Loyauté, ‘Le Design Aluminium au XXe Siècle’, Connaissance des Arts, October 2003, p. 98 Marc Newson Pop On Pop Of, exh. cat., Groninger Museum, Groningen, 2004, pp. 1, 12–13 Steven Skov Holt and Mara Holt Skov, Blobjects and Beyond: The New Fluidity in Design, San Francisco, 2005, p. 38 Phaidon Design Classics, Volume Three, London, 2006, no. 860 Jean-Louis Gaillemin, ed., Design Contre Design: Deux siècles de créations, exh. cat., Galerie Nationale du Grand Palais, Paris, 2007, p. 192 Deyan Sudjic, The Language of Things, London, 2008, front cover and pp. 206–207 Rich Cohen, ‘A Woman in Full’, Vanity Fair, July 2008, pp. 70–71 Sophie Lovell, Limited Edition: Prototypes, One-Ofs and Design Art Furniture, Basel, 2009, p. 249 Jason T. Busch, Decorative Arts and Design, Collection Highlights, Carnegie Museum of Art, Pittsburgh, 2009, p. 194 David Linley, Charles Cator and Helen Chislett, Star Pieces: The Enduring Beauty of Spectacular Furniture, New York, 2009, front cover, p. 198 Libby Sellers, Why What How: Collecting Design in a Contemporary Market, London, 2010, p. 153 Adam Lindemann, Collecting Design, Cologne, 2010, pp. 252–53 Alison Castle, Marc Newson: Works, Cologne, 2012, pp. 34–40
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‘Marc Newson’ solo exhibition, Groninger Museum, 2004 © Marc Newson Studio, 2015.
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PUBLIC COLLECTIONS National Gallery of Victoria, Melbourne Powerhouse Museum, Sydney Vitra Design Museum, Weil am Rhein Carnegie Museum of Art, Pittsburgh
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Marc Newson in front of his Kelvin40 concept jet, circa 2004 Š Marc Newson Studio, 2015.
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MARC NEWSON IN PUBLIC COLLECTIONS Art Gallery of South Australia, Adelaide National Gallery of Victoria, Melbourne Powerhouse Museum, Sydney Fondation Cartier, Paris Fonds National d’Art Contemporain, Puteaux Musée des Arts Décoratifs, Paris Centre Pompidou, Paris Museum für Angewandte Kunst, Frankfurt Museum für Angewandte Kunst Köln, Cologne Museum für Kunst und Gewerbe, Hamburg Vitra Design Museum, Weil am Rhein The Israel Museum, Jerusalem Museu do Design e da Moda, Lisbon Museum für Gestaltung, Zürich Design Museum, London Manchester Art Gallery Victoria and Albert Museum, London Carnegie Museum of Art, Pittsburgh Cooper Hewitt, Smithsonian Design Museum, New York High Museum of Art, Atlanta Indianapolis Museum of Art The Museum of Modern Art, New York Philadelphia Museum of Art San Francisco Museum of Modern Art
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chronology
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1963
Born October 20, Sydney, Australia.
1984
Graduates from Sydney College of the Arts, specialising in jewellery and silversmithing. Awarded a grant from the Australian Crafs Council.
1986
Exhibits LC1, a precursor to the Lockheed Lounge, at frst solo show, ‘Seating for Six’, at Roslyn Oxley9, Sydney. LC1 is acquired by the Art Gallery of South Australia, Adelaide.
1987–1988
Travels to Tokyo, where he meets Teruo Kurosaki, founder of the design frm Idée. Returns to Sydney and opens his own workshop. Designs the Lockheed Lounge, Embryo Chair, Wood Chair, and Orgone Lounge. Stages his frst international solo exhibition, ‘Works of Marc Newson’, at Idée, Tokyo.
1989–1991
Moves to Tokyo to work for Idée, producing Super Guppy Lamp, Black Hole Table, Felt Chair, and Wicker Chair Lounge. Featured in the ‘Line’, Il Milione, Milan.
1991
Establishes his Paris studio and begins designing for Flos, Cappellini, and Moroso. Exhibits with Teruo Kurosaki during the Salone del Mobile, Milan.
1993
Named Designer of the Year at the Salon du Meuble in Paris. Solo exhibition ‘Raum & Form’ opens at Galerie Artifcial, Nuremberg, followed by ‘Marc Newson’ at Galleria Massimo de Carlo, Milan.
1994
Founds the company Pod (later known as Ikepod) with Oliver Ike to manufacture his watch designs. Exhibits limited edition aluminium pieces in ‘Wormhole’ at Internos Bis, Milan. Works include Orgone Chair, Alufelt Chair, Orgone Stretch Lounge, and Event Horizon Table. Begins designing for Alessi.
1995
Creates installation ‘Bucky, De la Chimie au Design’ at Fondation Cartier, Paris. Designs interior, furniture, and tableware for Coast, Oliver Peyton’s London restaurant.
1996
Designs interiors for Syn Studios, a Tokyo production and recording company owned by Simon Le Bon, Yasmin Le Bon, and Nick Wood. Designs interior and furnishings for Osman, a restaurant in Cologne’s KOMED Media Park.
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1997
Moves to London and establishes Marc Newson Ltd. Solo exhibition ‘Marc Newson’ opens at Villa Noailles, Hyères, France. Begins designing for Magis.
1998
Filmed for Australian television documentary The Dramatic Rise of Marc Newson. Named one of the Top 50 Designers by I.D. magazine. Designs MNI bicycle for Biomega and the Falcon 900B jet. Begins designing for B&B Italia and Iittala.
1999
Newson spends most of the year in Turin developing the Ford 021C concept car at Ghia Carrozzeria. The car is unveiled at the Tokyo Motor Show, winning the Concept Car Design Award. Receives the Red Dot design award for Embryo Chair. His retrospective monograph Marc Newson is published by Booth-Clibborn Editions, UK. Australia Post issues a 90-cent postage stamp featuring Embryo Chair. A Lockheed Lounge frst appears at auction.
2000
Receives the Red Dot design award for his Hemipode Watch Grande Date HD03, the Compasso d’Oro award and the Design Innovation 2000 Award from Design Zentrum Nordrhein Westfalen, Germany. Solo exhibition ‘Marc Newson’ opens at Galerie kreo, Paris.
2001
First major museum retrospective ‘Marc Newson, Design Works’ opens at Powerhouse Museum, Sydney. Newson’s work is included in the seminal exhibition and corresponding publication Aluminum by Design: Jewelry to Jets, at the Carnegie Museum of Art, Pittsburgh. Receives the Chicago Athenaeum Good Design award.
2006
Newson is appointed Creative Director of Qantas Airways, as well as Royal Designer for Industry by the Royal Society for the Encouragement of Arts, Manufactures and Commerce, London. Named Designer of the Year at Design Miami/Basel.
2007–2008 Solo exhibition of unique and limited edition works opens
at Gagosian Gallery, New York. Qantas Airways launch their A380 planes with interiors by Newson. ‘Urban Spaceman’, Alan Yentob’s documentary featuring the designer, airs on BBC One. Newson receives the Design Medal at the London Design Festival. 2009
Phillips de Pury & Company, London, sets a new world auction record for the Lockheed Lounge when it sells for £1.1 million ($1.6 million). Newson is featured in ‘Objectifed’, a documentary flm by Gary Hustwit.
2010
Phillips de Pury & Company break the previous world auction record with the sale of Newson’s prototype Lockheed Lounge for $2.1 million in New York. Newson opens ‘Transport’, his second solo exhibition at Gagosian Gallery, New York. Newson is a featured guest on Charlie Rose. The University of Sydney awards Newson Doctor of Visual Arts (Honoris Causa).
2011
Newson is Key Speaker at the June Financial Times Business Luxury Summit, Geneva, and receives the Lucky Strike Designer Award for Lifetime Achievement from the Raymond Loewy Foundation.
2003
Qantas Airways launches Newson’s ‘Skybed’, a new business class seat. Completes interior of the redesigned Lever House restaurant in New York.
2012
Her Majesty the Queen appoints Newson a Commander of the Order of the British Empire (CBE) for services to the design industry.
2004
Exhibits Kelvin40, a concept jet, at Fondation Cartier, Paris. His frst major European museum retrospectives open at the Groninger Museum, the Netherlands, and the Design Museum, London. Nike releases Newson’s modular ZVEZDOCHKA shoe, inspired by Russian cosmonauts aboard the International Space Station.
2013
Solo exhibition ‘Marc Newson: At Home’ opens at the Philadelphia Museum of Art, Philadelphia.
2014
Joins the Apple design team.
2005
Time magazine names Newson to The 100 Most Infuential People in the World. Newson receives six product innovation awards from multiple publications.
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PhilliPs would like to thank marc newson
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important notice to buyers This book is provided as a convenience to our clients and is not a catalogue for the 28 April 2015 Design Evening Sale. It is an addendum to Lot 226 to be offered in the auction. Please see the catalogue for this sale for a detailed lot description, our Conditions of Sale and other important information regarding the auction. Please note that all lots are offered for sale subject to our Conditions of Sale and Authorship Warranty, and any other notices or announcements in the auction catalogue, in the saleroom or on our website, phillips.com. If you are interested in knowing more about the auction and would like to receive the full-size edition of the catalogue, with complete information on each lot, please contact us at +1 212 940 1240 or catalogues@phillips.com.
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design evening sale
Sale information london, 28 april 2015 at 6pm Auction & Viewing LocAtion 30 Berkeley square london W1J 6eX Auction 28 april 2015 at 6pm Viewing 22 – 28 april monday – saturday 10am – 6pm sunday 12pm – 6pm SALe DeSignAtion When submitting bids or making enquiries please refer to this sale as UK050215 or design evening sale. AbSentee AnD teLephone biDS tel +44 20 7318 4045 fax +44 20 7318 4035 bidslondon@phillips.com
DeSign Department woRLDwiDe heAD alexander payne +44 20 7318 4052 apayne@phillips.com new yoRk DiRectoR alex Heminway +1 212 940 1268 aheminway@phillips.com SenioR inteRnAtionAL SpeciALiSt domenico raimondo +44 20 7318 4016 draimondo@phillips.com SpeciALiSt marcus mcdonald +44 20 7318 4095 mmcdonald@phillips.com ReSeARcheR marta de roia +44 20 7318 4096 mderoia@phillips.com ADminiStRAtoR madalena Horta e Costa +44 20 7318 4019 mhortaecosta@phillips.com
photography: Byron slater, Kent pell
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