MARC NEWSON (b. 1963)
MARC NEWSON (b. 1963)
MARC NEWSON (b. 1963)
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MARC NEWSON (b. 1963)
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This lot will be removed to Christie’s Park Royal.… Read more
MARC NEWSON (b. 1963)

A Lockheed Lounge

MARC NEWSON (b. 1963)
A Lockheed Lounge
produced by Basecraft for Pod, Australia, fibreglass-reinforced polyester resin core, blind-riveted sheet aluminium, painted polyester resin
34 ¾ x 66 x 25 in. (88.5 x 168 x 63.5 cm.)

Designed 1985-1988, this example was executed before 1993. This work is number seven from the edition of ten, plus four artist’s proofs (black feet) and one prototype (white feet).

This work is accompanied by a certificate of authenticity, February 1993, signed and dated by the artist.

The present lot 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.

The initial prototype version, LC-1, is in the collection of The Art Gallery of South Australia, Adelaide, Australia.

Other examples of the Lockheed Lounge are included in the collections of the National Gallery of Victoria, Melbourne, Australia, Powerhouse Museum, Sydney, Australia, Vitra Design Museum, Weil-am-Rhein, Germany and Carnegie Museum of Art, Pittsburg, Pennsylvania.

Private Collection (acquired directly from the artist in February 1993).
Double Vision, Christie's London, 14 October 2007, lot 10.
Acquired at the above sale by the present owner.
Other examples of the model illustrated:
D. Jackson, 'Open the Pod Door', in Blueprint, February 1990, pp. 28-29.
M. Romanelli, ‘Marc Newson: Progetti tra il 1987 e il 1990’, in Domus, no. 714, March 1990.
A. von Vegesack, P. Dunas, M. Schwartz-Clauss (eds.), 100 Masterpieces from the Vitra Design Museum Collection, Weil am Rhein 1996, pp. 32-33, inside front cover, back cover, pp. 172-73. .
M. Byars, 50 Chairs: Innovations in Design and Materials, Crans-Prés-Celigny 1997, pp. 94-97.
C. Fiell, P. Fiell (eds.), 1000 Chairs, Cologne 1997, p. 606.
A. Rawsthorn, Marc Newson, London 1999, pp. 9, 18-21.
S. Nichols (ed.), Aluminum by Design, exh. cat., Pittsburgh, Carnegie Museum of Art, 2000, dust jacket, p. 265.
C. L. Morgan, Marc Newson, New York 2002, pp. 154-155.
B. Loyauté, 'Le Design Aluminum au XXe Siècle', in Connaissance des Arts, October 2003, p. 98.
Marc Newson: Pop On Pop Off, exh. cat., Groningen, Groninger Museum, 2004, pp. 1, 12-13.
S. S. Holt and M. H. Skov, Blobjects & Beyond: The New Fluidity in Design, San Francisco 2005, p. 38.
Phaidon Design Classics, vol. 3, London 2006, no. 860.
J-L. Gaillemin (ed.), Design Contre Design: Deux siècles de créations, exh. cat., Paris, Galeries Nationales du Grand Palais, 2007-2008, p. 192.
D. Sudjic, The Language of Things, London 2008, front cover and pp. 206-07.
R. Cohen, ‘A Woman in Full’, in Vanity Fair, July 2008, pp. 70-71.
S. Lovell, Limited Edition: Prototypes, One-Offs and Design Art Furniture, Basel 2009, p. 249.
J. T. Busch (ed.), Decorative Arts and Design, Collection Highlights, Carnegie Museum of Art, Pittsburgh 2009, p. 194.
D. Linley, C. Cator, H. Chislett, Star Pieces: The Enduring Beauty of Spectacular Furniture, New York 2009, front cover, p. 198.
R. Violette, Why What How: Collecting Design in a Contemporary Market, London 2010, p. 153.
A. Lindemann, Collecting Design, Cologne 2010, pp. 252-253.
A. Castle (ed.), Marc Newson: Works, Cologne 2012, pp. 34-40.
F. Chambre, Impossible Collection of Design: The 100 Most Influential Objects of the Twentieth Century, New York 2014, cover.
Special notice
This lot will be removed to Christie’s Park Royal. Christie’s will inform you if the lot has been sent offsite. Our removal and storage of the lot is subject to the terms and conditions of storage which can be found at and our fees for storage are set out in the table below - these will apply whether the lot remains with Christie’s or is removed elsewhere. Please call Christie’s Client Service 24 hours in advance to book a collection time at Christie’s Park Royal. All collections from Christie’s Park Royal will be by pre-booked appointment only. Tel: +44 (0)20 7839 9060 Email: If the lot remains at Christie’s it will be available for collection on any working day 9.00 am to 5.00 pm. Lots are not available for collection at weekends.

Brought to you by

Jeremy Morrison
Jeremy Morrison

Lot Essay

In June 1986, having recently graduated in sculpture, jewellery and furniture design from Sydney College of the Arts, Marc Newson accepted the opportunity to exhibit new furniture designs at Sydney’s Roslyn Oxley9 Gallery. As a child growing up in Australia, Newson had benefitted from a cosmopolitan education that included regular exposure to museum collections, art galleries, and of course to cinema, particularly the modernist space-age Ken Adam-designed interiors for the James Bond franchise, and the quasi-Utopian futurism of Kubrick’s ‘2001’.

The prototype work, the LC1, that Newson created for this show, now in the collection of the Art Gallery of South Australia, Adelaide, proved a uniquely dynamic and energetic form that delineated a stylistic breakthrough from the high-tech constructivism that characterized mainstream 1980s design. Conceived as an art object for this exhibition and never intended for production, the LC1 invoked a vision that although anchored in the Antique remained elegantly futuristic, fastened by 1930s streamlining, invested with a sense of mobility and embracing a sensation of science fiction fantasy, to inaugurate a new icon in the narrative of contemporary design. Most unusual, however, was Newson’s decision to model his seat as a chaise-longue, a relatively outmoded form by the late-twentieth century, and a decision that was loosely stimulated by Jacques-Louis David’s 1800 ‘Portrait of Madame Récamier’. In this celebrated painting the slender wooden chaise serves merely to elevate the subject to inertia and immortality, recalling the memorial sculptures of Antonio Canova. By contrast, Newson’s design investigated mobility and movement, the ebb and pull of the ocean’s tides, echoing his experience as a surfer on Sydney’s northern beaches. With the distant resonance of classicism invested in the form’s conception, Newson strove to further assure the design’s modernity and to invoke a sensation of shimmering transience by cladding the entire surface with a seamless cloak of polished aluminium. Proving technically impossible, Newson defaulted to his training as a jeweller to meticulously cut, hammer and then assemble a mosaic of thin aluminium panels that were blind-riveted to the hand-sculpted under-structure. The resulting patchwork surface acknowledged the artisanal, improvised quality of the chaise whilst delivering a metallic hourglass vision that inspired, in the words of one contemporary commentator, the intuitive motion of ‘a giant blob of mercury’.

Images of the prototype swiftly circulated to international praise. Newson reworked certain aspects, most notably the neo-classical backrest of the original LC1 prototype to subsequently execute the Lockheed as a limited edition from 1988 onwards. Newson’s technique was rudimentary, but effective – the outline of the chaise was drawn on a large block of foam, which was then fashioned with a saw to delineate the basic profile, followed by hand-sanding to refine and release the shape. This artisanal and intuitive process was delivered entirely by intuition and by eye, and after a day’s worth of carving Newson was satisfied with his first attempt. From this prototypic form a mould was created in which to lay the fibreglass under-structure of the chaise, now anointed ‘Lockheed Lounge’ in deference to the Machine-Age aesthetic of the American aircraft manufacturer.

An early and enthusiastic supporter was Philippe Starck, who in 1990 acquired an example for use in the lobby of Ian Schrager’s Paramount Hotel, New York. During the same period, an example of the Lockheed, and of the accompanying Pod cabinet, was exhibited at London’s Liberty & Co. department store. In 1993 the Lockheed was brought to a wider audience when featured as the centrepiece in Madonna’s video for her single, ‘Rain’. Two years later Vitra Design Museum included the Lockheed in their highly influential travelling exhibition of ‘100 Masterpieces’, and in 2000 the chaise was the focus of the Carnegie Art Museum’s aluminium retrospective, occupying both front and back covers of the exhibition catalogue. The innovative status of this landmark design was now assured, and swiftly the few remaining examples that had not already been secured by museums became the focus of pioneering collectors, many drawn from the fields of contemporary art, transcending the traditional boundaries that were perceived to exist within the fields of the fine and the decorative arts.
During the mid-late 1990s, and as popular appreciation for design began to broaden, certain key works, Newson’s Lockheed included, were correctly reappraised by pioneers within the contemporary art market as exhibiting cultural and progressive criteria that paralleled the explorative personality of contemporary art. Another example, number ‘10’ from the edition, was selected to be included in the pioneering Evening Sale of Contemporary Art, Christie’s New York, 16 May 2000, marking the first occasion that both the fine arts and selected examples of design could be interpreted as sharing a parallel, progressive ethos. Establishing a then-record price in the process, the destiny of the appeal of the Lockheed was now secured. The instinct of specialist expertise, gallerists, critics and curators was clear – the Lockheed was a work that was uniquely and consistently able to transcend traditional boundaries, to establish universal appeal irrespective of notions of categorization.

That the Lockheed should have been swiftly embraced by such positive cultural and academic acclaim, and integrated into curatorial spheres at the highest level, underlines the visionary aesthetic and meticulous craft of the chaise. Reflected against the monochromatic linear geometry of corporate 1980s design, and the contemporary computer-assisted design that the form helped to inaugurate, the Lockheed persists as a solitary premonitionary example of crafted organic design, a shimmering bolide form that invokes the sensual biomorphism of Moore, Archipenko and Noguchi, fastened to the Pop aesthetics of Rosenquist and Johns, whilst slyly acknowledging the elegant fantasy-Modernism of Ken Adam. Now reviewed some thirty years after the exhibition of the 1985 prototype, the iconic Lockheed Lounge can be confirmed as having inaugurated a new aesthetic language for the twenty-first century, and Newson as a universal creator whose sensitivity, diversity and sense of innovation remains unparalleled.

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