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233
Geometric Abstraction Surveys, thirty-nine
Geometric Abstraction Surveys, thirty-nine
estimate: $300–500
result: $5,000
provenance: Collection of Mark McDonald
Gene Davis Steven Naifeh, The Arts Publisher Inc., New York, 1982. Color, 235 pages, Hardcover with dustjacket. Inscribed and signed by artist.
Kenneth Noland: A Retrospective Thomas M. Messer, Diane Waldman, et. al, The Soloman R. Guggenheim Museum, New York, New York, 1977. 160 pages, Softcover.
Ilya Bolotowsky Thomas Messer, The Solomon R. Guggenheim Museum, New York, 1974. B & W/Color, 134 pages, Softcover.
Josef Albers Glass, Color, and Light Nicholas Fox Weber, Guggenheim, New York, 1994. Color, 152 pages, Hardcover with dustjacket.
Burgoyne Diller William C. Agee, Meredith Long & Company, Houston, 1984. B & W/Color, 40 pages, Softcover.
Alice Trumbull Mason, Washburn Gallery, New York, 1988. Color, 8 pages, Softcover.
In Review: Bolotowsky Mason, Scarlett, Shaw, Washburn Gallery, New York, 1990. Color, 8 pages, Softcover.
Rolph Scarlett, Woodstock Artist Association, New York, 1993. Color, 12 pages, Softcover.
Ilya Bolotowsky, Washburn Gallery, New York, 1987. 8 pages, Softcover.
Kenneth Noland, Andre Emmerich Gallery, New York, 1978. Color, 22 pages, Softcover.
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.