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Auktionsarchiv: Los-Nr. 226

Marc Newson

Schätzpreis
1.500.000 £ - 2.500.000 £
ca. 2.242.174 $ - 3.736.957 $
Zuschlagspreis:
2.434.500 £
ca. 3.639.049 $
Auktionsarchiv: Los-Nr. 226

Marc Newson

Schätzpreis
1.500.000 £ - 2.500.000 £
ca. 2.242.174 $ - 3.736.957 $
Zuschlagspreis:
2.434.500 £
ca. 3.639.049 $
Beschreibung:

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION Marc Newson 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 Basecraft 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 certificate of authenticity signed by the artist.
Provenance The Gallery Mourmans, Maastricht Christie’s, New York, ‘Contemporary Art Evening Sale’, May 16, 2000, lot 7 Private collection, Italy, acquired directly from the above Geofrey Diner Gallery, Washington D.C. Private collection Geofrey Diner Gallery, Washington D.C. 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, pp. 172-73 Alice Rawsthorn, Marc Newson London, 1999, pp. 9, 11, 18-21 Sarah Nichols, Aluminum by Design, exh. cat., Carnegie Museum of Art, Pittsburgh, 2000, front and back covers and p. 264 Marc Newson Pop On Pop Of, exh. cat., Groninger Museum, 2004, pp. 1, 12-13 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 Jason T. Busch, Decorative Arts and Design, Collection Highlights, Carnegie Museum of Art, Pittsburgh, 2009, p. 194 Alison Castle, et al., Marc Newson Works, Cologne, 2012, pp. 34-40 Catalogue Essay THE LOCKHEED LOUNGE IN CONTEXT BY LIBBY SELLERS European furniture design of the 1980s was characterised by two extremes: on the one hand the flamboyant post-modern style of Ettore Sottsass and Milan’s Memphis group; on the other (a tightly clinched fist) 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 sleek and flamboyant while also evocative of 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 stifling,’ he said. ‘Coming from Australia, my design was self-taught and instinctive.’ The ‘tyranny of distance’ ironically offered 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. After 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 imported Italian magazines, (Domus and Ottogano) from the newsagent where he worked part-time, he absorbed both the historical as well as the contemporary cultural currents blowing from European design studios. While his interest in the work of modern designers grew, his most visible influences during the early stage were traditional, and specifically neo-classical. As he has said of ‘Lockheed’, its ‘fluid metallic form [was] loosely, very loosely’ based on the chaise lounge he’d seen in reproductions of Jacques-Louis David’s neo-classical portrait of Madame Récamier. David’s painting of 1800, with its evocative imagery that poignantly interweaves the themes of seduction, death and laughter, has been cited as an important influence on the development and popularisation of the chaise longue in the early 19th century. 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 first unveiled, David’s portrait sparked an interest that swept across the Continent. During the Empire period, the social codes attached to parlour etiquette and the more precise

Auktionsarchiv: Los-Nr. 226
Auktion:
Datum:
28.04.2015
Auktionshaus:
Phillips
London
Beschreibung:

PROPERTY FROM AN IMPORTANT PRIVATE COLLECTION Marc Newson 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 Basecraft 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 certificate of authenticity signed by the artist.
Provenance The Gallery Mourmans, Maastricht Christie’s, New York, ‘Contemporary Art Evening Sale’, May 16, 2000, lot 7 Private collection, Italy, acquired directly from the above Geofrey Diner Gallery, Washington D.C. Private collection Geofrey Diner Gallery, Washington D.C. 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, pp. 172-73 Alice Rawsthorn, Marc Newson London, 1999, pp. 9, 11, 18-21 Sarah Nichols, Aluminum by Design, exh. cat., Carnegie Museum of Art, Pittsburgh, 2000, front and back covers and p. 264 Marc Newson Pop On Pop Of, exh. cat., Groninger Museum, 2004, pp. 1, 12-13 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 Jason T. Busch, Decorative Arts and Design, Collection Highlights, Carnegie Museum of Art, Pittsburgh, 2009, p. 194 Alison Castle, et al., Marc Newson Works, Cologne, 2012, pp. 34-40 Catalogue Essay THE LOCKHEED LOUNGE IN CONTEXT BY LIBBY SELLERS European furniture design of the 1980s was characterised by two extremes: on the one hand the flamboyant post-modern style of Ettore Sottsass and Milan’s Memphis group; on the other (a tightly clinched fist) 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 sleek and flamboyant while also evocative of 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 stifling,’ he said. ‘Coming from Australia, my design was self-taught and instinctive.’ The ‘tyranny of distance’ ironically offered 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. After 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 imported Italian magazines, (Domus and Ottogano) from the newsagent where he worked part-time, he absorbed both the historical as well as the contemporary cultural currents blowing from European design studios. While his interest in the work of modern designers grew, his most visible influences during the early stage were traditional, and specifically neo-classical. As he has said of ‘Lockheed’, its ‘fluid metallic form [was] loosely, very loosely’ based on the chaise lounge he’d seen in reproductions of Jacques-Louis David’s neo-classical portrait of Madame Récamier. David’s painting of 1800, with its evocative imagery that poignantly interweaves the themes of seduction, death and laughter, has been cited as an important influence on the development and popularisation of the chaise longue in the early 19th century. 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 first unveiled, David’s portrait sparked an interest that swept across the Continent. During the Empire period, the social codes attached to parlour etiquette and the more precise

Auktionsarchiv: Los-Nr. 226
Auktion:
Datum:
28.04.2015
Auktionshaus:
Phillips
London
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