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Isamu Noguchi Monographs, fourteen
Isamu Noguchi Monographs, fourteen
estimate: $500–700
result: $6,000
provenance: Collection of Mark McDonald
Isamu Noguchi . Rosanjin Kitaoji Ryu Nimi and Shigemi Oka, et. al., Sezon Museum of Art, Tokyo, 1996. 330 pages, Softcover.
Isamu Noguchi John Gordon, Whitney Museum of Art, New York, 1968. 68 pages, Softcover.
Isamu Noguchi: Bronze and Iron Sculpture Dore Ashton, The Pace Gallery, New York, 1988. n.p. pages, Softcover.
Noguchi: Steel Sculptures Bryan Roberston, Pace Editions, New York, 1975. n.p. pages, Softcover.
33 MacDougal Alley: The Interlocking Sculpture of Isamu Noguchi, PaceWildenstein, New York, 2003. 34 pages, Softcover.
Earthly Forms: The Biomorphic Sculpture of Arp, Calder, Noguchi Marc Glimcher, PaceWildenstein, New York, 2000. 67 pages, Softcover.
Noguchi Bruce Altshuler, Abbeville Press Publishers, New York, 1994. 127 pages, Softcover.
Isamu Noguchi: Sculptural Design Jochen Eisenbrand, Katarina V. Posch and Alexander von Vegesack, Vitra Design Museum, Weil am Rhein, Germany, 2002. 316 pages, Hardcover with dustjacket.
Isamu Noguchi: Master Sculptor Valerie J. Fletcher, Scala Publishers, London, 2004. 236 pages, Hardcover with dustjacket.
Noguchi Shuzo Takiguchi, Saburo Hasegawa and Isamu Noguchi, Bijutsu Shuppan-Sha, Tokyo, 1953. 99 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.