232
232
Early Abstract Expressionist Art Surveys, nine
Early Abstract Expressionist Art Surveys, nine
estimate: $150–200
result: $2,250
provenance: Collection of Mark McDonald
The Societe Anoyme and the Drier Bequest at Yale University Robert Herbert, Eleanor Apter, Elise Kenney et al., Yale University Art Gallery, New Haven, 1984. B & W/Color, 786 pages, Hardcover with dustjacket.
The San Francisco School of Abstract Expressionism Susan Landauer, Laguna Art Museum, Laguna Beach, 1996. Color, 272 pages, Hardcover with dustjacket.
A Spectrum of Innovation Color in American Printmaking David Acton, Worcester Norton, Massachusetts, 1990. Color, 304 pages, Hardcover with dustjacket.
American Art New York World's Fair 1939 Grover A. Whalen, Apollo, New York, 1987. B & W, 340 pages, Hardcover with dustjacket.
American Sublime Landscape Painting in the United States 1820 - 1880 Andrew Wilton, Tim Barringer et al., Tate, London, 2002. B & W/Color, 284 pages, Hardcover with dustjacket.
Abstract Painting and Sculpture in America 1927 - 1944 John R. Lane, Susan C. Larsen et al., Abrams, Pittsburg, 1983. B & W/Color, 256 pages, Softcover.
Constructed Abstract Art in England Alastair Grieve, Yale, US, 2005. B & W/Color, 288 pages, Hardcover with dustjacket.
Art of the Forties, The Museum of Modern Art, New York, 1919. B & W/Color, 160 pages, Hardcover with dustjacket.
New Hope for American Art James M. Alterman, Jim's of Lambertville, New Jersey, 2005. Color, 612 pages, Hardcover with dustjacket.
Mark McDonald has always been at the epicenter of the world that is mid-century design, to a large extent, it is a world he created. For over forty years, Mark has pioneered whole fields of collecting, providing the scholarship and creating the market for mid-century furniture, studio jewelry, ceramics and Italian glass.
In 1983, Mark opened Fifty/50 with partners Mark Isaacson and Ralph Cutler. This groundbreaking gallery defined collectors’ taste. At the time, modern works were still largely overlooked; Mark and his partners collected and presented the rarest and most interesting pieces, often working with the makers themselves, to create compelling exhibitions accompanied by catalogs documenting the work.
In the 1990s, Mark opened Gansevoort Gallery, where he continued to curate collections and exhibitions of lasting impact. Over the years, he established relationships with artists and their estates becoming the go to authority on the designs of Art Smith, Ilonka Karasz and Leza McVey, among others. His enthusiasm for the material extended beyond the gallery floor to the back room where lucky visitors got to flip through Mark’s impressive design reference library and discuss the importance of works with him.
A connoisseur and wealth of knowledge, Mark became a resource for prominent collections across the globe—private and public alike. He inspired a generation of collectors and dealers introducing designers and their production to an audience that continues to grow. In 2002, Mark closed Gansevoort and established 330 gallery in Hudson, New York. Now, semi-retired, Marks splits his time between New York and Florida. He still collects, curates, supports, and shepherds the scholarship of mid-century design.