A classic design is something that every time you look at it, you accept it as it is and you see no way of improving it.

Warren Platner

Birth of the Modern



Peter Loughrey was a talented pioneer motivated by a restless enthusiasm, crucially driven by the willingness to communicate, to share and to discover. An intuitive feel for the burgeoning interest in post-war design led Peter to establish the nascent LA Modern Auctions in 1992 — soon to evolve into the very first dedicated auction platform of its type. Although the initial turnover those first years was modest, LAMA’s impact and resonance was to spearhead a new era of collecting. With these auctions Peter, together with his wife and co-director Shannon, swiftly developed an interactive platform for what was evolving as an increasingly globalised tide of enthusiasts, dealers, curators and collectors. His auctions became a raison d’être, justification to what many of us were at the time tentatively yet willingly exploring. Here, in these auctions, post-war design was spot-lit centre stage, and celebrated as a movement in its own right.

If these initial auctions consolidated and gave focus to the market, then they also gave us an identity — achieved very simply through the semantics of the company that celebrated ‘modern’. A simple and obvious choice, but so influential and less cumbersome than the prevailing options of "twentieth century" or "post-war." Auctions at that time were traditionally associated with antiques, and there was a general disinterest within the trade to consider anything less than seventy years old as having any cultural or collectible value. Although this market had been described as being "modern" for some years already in the US, the word had not yet been internationalised beyond American shores to represent a collecting movement.

LAMA was established at exactly the right time. The zeitgeist was perfect, and helped guide many of us. Around this time I returned from the US and was shortly set to curate my first design auctions for Christie’s in London. Peter’s catalogues during this explorative period were invaluable. Perhaps difficult to understand now, in our era of immediate communication, but the fully illustrated printed LAMA catalogues were the equivalent of a fanzine that would be passed around, photocopied and then memorised. Nowhere else at the time was contained the detailed information that could allow us, many thousands of miles away in London, to distinguish between an early or a late example of, say, an Eames LCW, or to be exposed to the furniture of Schindler or Neutra. And crucially, there were prices. The prices meant that the market was real. And every so often there would be something in Peter’s sales — a trophy lying in wait for the knowledgeable — that would yield a revolutionary price, setting new records and issuing concentric ripples that gave us the confidence to recognise that our passion for this material was no daydream.

Peter had the fortune to discover his calling, and the certainty to pursue it, his delight for discovery underpinned by curatorial seriousness. Together with Shannon, LAMA established a keystone in the foundations of the modern market, flag-bearers of international design and with a global message. Today LAMA co-anchors a dedicated and influential network of US auction sites, all specialised graduates of that early era of modern discovery. A shared mission is always the most pleasurable, so thank you Peter, for helping guide the way.

Simon Andrews
Curator and advisor
Andrews Art Advisory

Warren Platner

Warren Platner (1919—2006) was an American architect and interior designer whose seminal furniture collection produced by Knoll International remains an icon of 1960s modernism today. In 1941, Platner graduated with a degree in architecture from Cornell and soon went to work for the renowned Raymond Loewy and I.M. Pei between 1945—1950 later earning the Rome Prize in architecture in 1955.

While working in the office of Eero Saarinen during the mid-1960s, he released a collection of chairs, ottomans, and tables that has been in continuous production by Knoll ever since. The collection is both elegant and understated consisting of steel wire furniture that rests on a sculptural base of nickel-plated steel rods. The following year he opened his firm Warren Platner Associates later designing the highly regarded interiors of the Ford Foundation headquarters in 1967, Georg Jensen Design Center in 1968, and the glamorous Windows on the World restaurant of the World Trade Center, New York in 1976.

Auction Results Warren Platner