Property from an Important Collection Marc Newson Rare and important ‘Lockheed Lounge’ 1988 Fibreglass-reinforced polyester resin core, blind riveted sheet aluminium, rubber-coated polyester resin. 88.9 x 63.5 x 152.4 cm. (35 x 25 x 60 in.) Produced by Basecraft for Pod, Australia. From an edition of ten plus four artist’s proofs and one example with white feet. Underside impressed with ‘BASECRAFT SYDNEY 12’. Together with a certificate of authenticity from Marc Newson
Provenance The artist; The artist's mother; The Chair, Christie’s, London, 11 May 1999, Lot 119 Exhibited 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; Volker Albus and Volker Fischer 13 Nach Memphis: Design Zwischen Askese und Sinnlichkeit, Munich, 1995, p. 130; Alexander von Vegesack, et al., eds, 100 Masterpieces from the Vitra Design Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein, 1996, pp. 172-173; Mel Byars, 50 Chairs: Innovations in Design and Materials, Crans-Prés-Celigny, 1997, pp. 94-97; Akiko Busch, ‘George Nelson Design Awards 1999’, Interiors, May 1999, p. 95; Alice Rawsthorn, Marc Newson London, 1999, pp. 18-21; Uta Abendroth, et al., World Design: The Best in Classic and Contemporary Furniture, Fashion, Graphics and More, San Francisco, 2000, p. 269; Charlotte and Peter Fiell, eds, 1000 Chairs, Cologne, 2000, p. 605; Sarah Nichols, Aluminum by Design, exh. cat., Carnegie Museum of Art, Pittsburgh, 2000, front and back covers and p. 264; Cat Martin, ‘Designing for a Life in a Curvier World’, Blueprint, October 2001, p. 107; Stephen Crafti, Request.Response.Reaction. The Designers of Australia & New Zealand, Victoria, 2002, p. 84; Conway Lloyd Morgan, Marc Newson London, 2002, pp. 154-155; Harry Schwalb, ‘Reinventing Aluminum’, Artnews, May 2002, p. 114; Benjamin Loyauté, ‘Le Design Aluminium au XXe Siècle’, Connaissance des Arts, October 2003, p. 98; Marc Newson Pop On Pop Off, exh. cat., Groninger Museum, 2004, pp. 1 and 12-13; Steven Skov Holt and Mara Holt Shov, Blobjects and Beyond: The New Fluidity in Design, San Francisco, 2005, p. 38; Phaidon Design Classics, Volume Three, London, 2006, no. 860; Deyan Sudjic The Language of Things, London, 2008, front cover and pp. 206-207; Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 249 Catalogue Essay This ‘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. Marc Newson believes the present lot to be the first of four artist’s proofs, an early example preceding his edition of ten. All examples were built at Basecraft, a small Sydney workshop where Newson developed his ‘LC1’ chaise longue in 1985-1986.That chair was first exhibited at Roslyn Oxley9 Gallery in Sydney, June 1986, and is now in the permanent collection of the Art Gallery of South Australia, Adelaide. Although a markedly different chair, Newson’s ‘LC1’ led to the present form, the ‘Lockheed Lounge’, of which fifteen exist: one with white feet, four artist’s proofs, and a further edition of ten. The present lot is one of two examples used during the filming of Madonna’s video for her single Rain, shot May 16-19, 1993 at the Santa Monica Airport, Santa Monica, California. In the order of their acquisition, ‘Lockheed Lounge’ is in the permanent collections of the National Gallery of Victoria, Melbourne; Powerhouse Museum, Sydney; Vitra Design Museum,Weil am Rhein; and Carnegie Museum of Art, Pittsburgh. Phillips de Pury & Company would like to thank Marc Newson and Didier Krzentowski for their assistance cataloguing this lot. With regard to date, edition size, manufacture, and material, this entry supersedes all previous publications of ‘Lockheed Lounge’. Who can resist a good figure? Not Marc Newson Since first riveting Lockheed Lounge for a 1986 exhibition at the Roslyn Oxley Gallery in Sydney, he has returned again and again to the hourglass shape as inspiration for much of his work: Pod Drawers, Embryos, and Orgone Lounges. Airplanes, cars, and surfboards 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
Property from an Important Collection Marc Newson Rare and important ‘Lockheed Lounge’ 1988 Fibreglass-reinforced polyester resin core, blind riveted sheet aluminium, rubber-coated polyester resin. 88.9 x 63.5 x 152.4 cm. (35 x 25 x 60 in.) Produced by Basecraft for Pod, Australia. From an edition of ten plus four artist’s proofs and one example with white feet. Underside impressed with ‘BASECRAFT SYDNEY 12’. Together with a certificate of authenticity from Marc Newson
Provenance The artist; The artist's mother; The Chair, Christie’s, London, 11 May 1999, Lot 119 Exhibited 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; Volker Albus and Volker Fischer 13 Nach Memphis: Design Zwischen Askese und Sinnlichkeit, Munich, 1995, p. 130; Alexander von Vegesack, et al., eds, 100 Masterpieces from the Vitra Design Museum Collection, exh. cat., Vitra Design Museum, Weil am Rhein, 1996, pp. 172-173; Mel Byars, 50 Chairs: Innovations in Design and Materials, Crans-Prés-Celigny, 1997, pp. 94-97; Akiko Busch, ‘George Nelson Design Awards 1999’, Interiors, May 1999, p. 95; Alice Rawsthorn, Marc Newson London, 1999, pp. 18-21; Uta Abendroth, et al., World Design: The Best in Classic and Contemporary Furniture, Fashion, Graphics and More, San Francisco, 2000, p. 269; Charlotte and Peter Fiell, eds, 1000 Chairs, Cologne, 2000, p. 605; Sarah Nichols, Aluminum by Design, exh. cat., Carnegie Museum of Art, Pittsburgh, 2000, front and back covers and p. 264; Cat Martin, ‘Designing for a Life in a Curvier World’, Blueprint, October 2001, p. 107; Stephen Crafti, Request.Response.Reaction. The Designers of Australia & New Zealand, Victoria, 2002, p. 84; Conway Lloyd Morgan, Marc Newson London, 2002, pp. 154-155; Harry Schwalb, ‘Reinventing Aluminum’, Artnews, May 2002, p. 114; Benjamin Loyauté, ‘Le Design Aluminium au XXe Siècle’, Connaissance des Arts, October 2003, p. 98; Marc Newson Pop On Pop Off, exh. cat., Groninger Museum, 2004, pp. 1 and 12-13; Steven Skov Holt and Mara Holt Shov, Blobjects and Beyond: The New Fluidity in Design, San Francisco, 2005, p. 38; Phaidon Design Classics, Volume Three, London, 2006, no. 860; Deyan Sudjic The Language of Things, London, 2008, front cover and pp. 206-207; Sophie Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel, 2009, p. 249 Catalogue Essay This ‘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. Marc Newson believes the present lot to be the first of four artist’s proofs, an early example preceding his edition of ten. All examples were built at Basecraft, a small Sydney workshop where Newson developed his ‘LC1’ chaise longue in 1985-1986.That chair was first exhibited at Roslyn Oxley9 Gallery in Sydney, June 1986, and is now in the permanent collection of the Art Gallery of South Australia, Adelaide. Although a markedly different chair, Newson’s ‘LC1’ led to the present form, the ‘Lockheed Lounge’, of which fifteen exist: one with white feet, four artist’s proofs, and a further edition of ten. The present lot is one of two examples used during the filming of Madonna’s video for her single Rain, shot May 16-19, 1993 at the Santa Monica Airport, Santa Monica, California. In the order of their acquisition, ‘Lockheed Lounge’ is in the permanent collections of the National Gallery of Victoria, Melbourne; Powerhouse Museum, Sydney; Vitra Design Museum,Weil am Rhein; and Carnegie Museum of Art, Pittsburgh. Phillips de Pury & Company would like to thank Marc Newson and Didier Krzentowski for their assistance cataloguing this lot. With regard to date, edition size, manufacture, and material, this entry supersedes all previous publications of ‘Lockheed Lounge’. Who can resist a good figure? Not Marc Newson Since first riveting Lockheed Lounge for a 1986 exhibition at the Roslyn Oxley Gallery in Sydney, he has returned again and again to the hourglass shape as inspiration for much of his work: Pod Drawers, Embryos, and Orgone Lounges. Airplanes, cars, and surfboards 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
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
