294
294
Domus Book Collection, twelve
Domus Book Collection, twelve
estimate: $1,000–1,500
result: $2,500
provenance: Collection of Mark McDonald
Ceramica alla 9a Triennale di Milano. Centro Studi Triennale 4 Gio Poni, Editoriale Domus, Milano, 1953. 128 pages, Softcover.
Pizzi Racami Tessuti Palia e Vimini alla 9a Triennale di Milano. Centro Studi Triennale 1 Mario Melino, Editoriale Domus, Milano, 1952. 110 pages, Softcover.
Oreficeria Metalli Pietre Marmi Legni Pelli Magerie Plastiche alla 9a Triennale di Milano. Centro Studi Triennale 2 Aldo Carpi, Editoriale Domus, Milano, 1952. 122 pages, Softcover.
Vetri alla 9a Triennale di Milano. Centro Studi Triennale 3 Elio Palazzo, Editoriale Domus, Milano, 1952. 109 pages, Softcover.
Ambienti Arredati alla 9a Triennale di Milano. Centro Studi Triennale 5 Carlo Santi, Editoriale Domus, Milano, 1952. 114 pages, Softcover.
I Libri Nella Casa. Quaderni di Domus 1 Vito Latis, Editoriale Domus, Milano, 1945. 79 pages, Softcover with dustjacket.
Gli Studi Nella Casa. Quaderni di Domus 2 Vittorio Gandolfi, Editoriale Domus, Milano, 1945. 94 pages, Softcover with dustjacket.
Camini. Quaderni di Domus 3 Mario Tevarotto, Editoriale Domus, Milano, 1945. 90 pages, Softcover with dustjacket.
Tavoli e Piani D'Appoggio. Quaderni di Domus 6 Luciano Canella and Renanto Radici, Editoriale Domus, Milano, 1948. 146 pages, Softcover with dustjacket.
Sedie Divani Poltrone. Quaderni di Domus 8 Vittorio Borachia and Carlo agani, Editoriale Domus, Milano, 1950. 127 pages, Softcover 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.