the lockheed lounge by marc newson [catalogue]

lockheed

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thE lockhEEd loungE

by marc nEwson


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


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


“ 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


“ Marc Newson matters because he is diferent

in a world of sameness.”

j mays, chief creative officer, ford motor company


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


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


Jacques-Louis David, Madame Récamier, 1800, oil on canvas. Courtesy Erich Lessing/Art Resource, NY.


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 twenty-

seven years afer its shimmering form evolved, Lockheed Lounge is a

defning object in the vocabulary of twenty-frst century aesthetics. ◆


Alexander Archipenko, Torso in Space, ca. 1936. Jordan Schnitzer Museum of Art, University of Oregon. Am11:Ar1..1


ALISON CASTLE

ON MARC NEWSON’S

LOCKHEED LOUNGE


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.

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.


Marc Newson applying fller to the Lockheed Lounge’s polyurethane form, Sydney,

circa 1988 © Marc Newson Studio, 2015.


Marc Newson refning the original rigid polyurethane form with a wire brush, Sydney,

circa 1988 © Marc Newson Studio, 2015.


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.


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


Lockheed Lounge “plug” drying, Sydney, circa 1988 © Marc Newson Studio, 2015.


Marc Newson, Orgone Stretch Lounge, circa 1993. Phillips, London, ‘Design’,

25 April 2013, lot 227 © Marc Newson Studio, 2015.


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

A GOOd fIGURE

By AlEx HEMINWAy, dIRECTOR Of dESIGN, pHIllIpS, NEW yORk


“ 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

marc newson, Surfoard, 2007, Gagosian Gallery

© marc newson studio, 2015.

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.

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. ◆


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, MaastrichtChristie’s, New York, ‘Contemporary Art Evening Sale’ 16 May 2000, lot 7Private collection, Italy, acquired from the aboveGeofrey Diner Gallery, Washington D.C.Private collectionGeofrey 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.


Detail of the present lot


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


PUBLIC COLLECTIONS

National Gallery of Victoria, Melbourne

Powerhouse Museum, Sydney

Vitra Design Museum, Weil am Rhein

Carnegie Museum of Art, Pittsburgh


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


chronology1963 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.


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 correspond-

ing publication Aluminum by Design: Jewelry to Jets, at the

Carnegie Museum of Art, Pittsburgh. Receives the Chicago

Athenaeum Good Design award.

2003 Qantas Airways launches Newson’s ‘Skybed’, a new

business class seat. Completes interior of the redesigned

Lever House restaurant in New York.

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.

2005 Time magazine names Newson to The 100 Most Infuential

People in the World. Newson receives six product innova-

tion awards from multiple publications.

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 Com-

merce, 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.

2012 Her Majesty the Queen appoints Newson a Commander

of the Order of the British Empire (CBE) for services to the

design industry.

2013 Solo exhibition ‘Marc Newson: At Home’ opens at the

Philadelphia Museum of Art, Philadelphia.

2014 Joins the Apple design team.


PhilliPs would like to thank

marc newson


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 [email protected].


design evening sale

Sale information

london, 28 april 2015 at 6pm

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Auction

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Viewing

22 – 28 april

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design evening sale.

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woRLDwiDe heAD

alexander payne +44 20 7318 4052

[email protected]

new yoRk DiRectoR

alex Heminway +1 212 940 1268

[email protected]

SenioR inteRnAtionAL SpeciALiSt

domenico raimondo +44 20 7318 4016

[email protected]

SpeciALiSt

marcus mcdonald +44 20 7318 4095

[email protected]

ReSeARcheR

marta de roia +44 20 7318 4096

[email protected]

ADminiStRAtoR

madalena Horta e Costa +44 20 7318 4019

[email protected]

photography: Byron slater, Kent pell


UK_DESIGN_LOCKHEED_APR15_IFC+IBC_BL.indd 4 09/04/15 16.16

UK_DESIGN_LOCKHEED_APR15_COVER_INSIDE.indd 2 09/04/15 16.18

newson

UK_DESIGN_LOCKHEED_APR15_COVER_BL.indd 6 09/04/15 16.18

the lockheed lounge by marc newson [catalogue]

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