The historic Helen Mar Apartment Hotel at 2421 Lake Pancoast Drive was designed by Robert E. Collins in 1936. Situated on Lake Pancoast in Miami Beach, the Art Deco building housed eighty-six apartments overlooking the lush, Helen-Mar Gardens and boasted “luxurious living” with “complete hotel service”. The following decades brought major changes to the area, and the once splendid building fell into neglect and disrepair. In 1987, following a resurgence of interest in local preservation, the building was purchased by Broadway producer and Miami native, Michael Harvey. Using a combination of his own funds and grants from the city, Harvey began a complete restoration of the building, stripping decades of paint and remedying bad repairs, rousing the Helen Mar back to her brilliant glory.
It is fitting that Mark McDonald—champion of all things vintage and beautiful—would choose the Helen Mar as his Miami home. Outfitted in an array of Mid-century and Art Deco designs, the stylish apartment featured thoughtfully preserved molding and finishes, meticulous tilework and cabinetry, all brought to life by a flood of South-Florida sunlight. Graphic works by Cuban and South American artists adorned the walls and inviting furniture designs by Modern masters like Charles and Ray Eames, Edward Wormley and Alvar Aalto furnished each room. True to his curating roots, McDonald effortlessly incorporated early Art Deco works by the likes of Jules Buoy, Walter Dorwin Teague and Warren McArthur into the brilliant interior, crafting a glamourous and exciting space, reflective of the Magic City itself.
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.
Bob Stocksdale 1913–2003
Bob Stocksdale was an influential American wood artist renowned for his exquisite turned wood bowls. Born in Warren, Indiana, Stocksdale's journey into woodworking began in his childhood, influenced by his rural upbringing and the natural surroundings that would later deeply inspire his work. His initial foray into woodworking was somewhat serendipitous. During World War II, he served as a conscientious objector and was assigned to work on a farm in California. It was there that he first encountered a wood lathe, a pivotal moment that marked the beginning of his lifelong passion for woodturning. After the war, Stocksdale settled in Berkeley, California, where he fully immersed himself in the craft.
His approach to woodturning was characterized by a respect for the natural beauty of wood. Stocksdale was known for his meticulous selections, often sourcing rare and exotic species from around the world. He had a unique ability to highlight the inherent characteristics of each piece, allowing the wood's grain, color, and texture to guide the form of his bowls. This philosophy set him apart from many of his contemporaries and established him as a master of his craft.
Stocksdale's work was celebrated for its simplicity and elegance. He eschewed ornate designs, focusing instead on creating forms that were both functional and aesthetically pleasing. His bowls, typically smooth and unembellished, showcased the beauty of the wood in its purest form. This minimalist approach garnered him significant acclaim and numerous accolades throughout his career, including the American Craft Council’s Gold Medal (1995), the American Association of Woodturners Lifetime Achievement Award (1998) and the Masters of the Medium Award, James Renwick Alliance (2003).
In addition to his technical prowess, Stocksdale was an influential figure in the woodturning community. He was a founding member of the American Association of Woodturners and played a crucial role in elevating woodturning to an art form. He also created pieces with his wife, fellow ACC Gold Medalist, and world-renowned fiber artist, Kay Sekimachi. His work is held in many notable institutions, including the Metropolitan Museum of Art, New York; the Museum of Fine Arts, Boston; the Museum of Arts and Design, New York; the Contemporary Museum of Art, Honolulu; and the Los Angeles County Museum of Art; and the Center for Art in Wood.
Auction Results Bob Stocksdale
