The present lot was featured in the exhibition Recent Works by Leo Amino, 3-21 November 1952 at the Sculpture Center, New York. It is pictured below in the original catalog, which is sold with the work.
The Mark Isaacson
and Greg Nacozy Collection
The Collection of Mark Isaacson and Greg Nacozy includes over two-hundred works from one of the most significant figures in mid-century collecting. Mark established the influential Fifty/50 gallery in New York in 1981 (later partnering with Mark McDonald and Ralph Cutler in 1983), which shaped the tastes and collecting habits of many and brought furniture, decorative arts and jewelry from the 1930s, 40s and 50s to the forefront of the market at a time when they were largely overlooked.
Fifty/50’s and Mark’s legacy is most closely associated with bringing Italian art glass to the United States (Mark even advised the MET on their Italian glass collection) and raising the profile of mid-century furniture and American studio jewelry and ceramics; iconic examples of each are represented in this auction, including an early Rudder Stool by Isamu Noguchi, Charlotte Perriand’s and Pierre Jeanneret’s Bahut No. 2, a Gerrit Rietveld Zig-Zag chair, pottery by Edwin and Mary Scheier and Fausto Melotti, and Venini glassworks.
The most exciting aspects of this auction are the more intimate ones—the works from Mark's and Greg's personal collection that speak to Mark's eclectic taste, his boundless curiosity and sensitivity toward objects and art, and how generous he was in sharing his interests with others and letting them share with him. Standouts include several works by Robert Mapplethorpe—who was close friends with Mark, photographed several Fifty/50 catalogs and got many of the ceramics in his photographs from the gallery—the ecstatic wood construction Wild Plant by Leo Amino, a painting by Ralston Crawford of a spectacularly minimalist skyscraper façade, and photographic works by Man Ray, Edward Weston, Lynn Davis and Dorothea Lange.
This auction also features many works that tie together the thread of Mark’s collecting practices, going beyond the downtown New York sensibilities of the 1980s and showing the scope of eras and cultures that interested him; the sgraffito incisions on a 1940s Scheier vase echo the geometric features of a Senufo Kpeliye'e mask, the entrancing and complex shadows of a grain elevator in a photograph by Ralston Crawford contrast with the severe plainness of a New York City step-back building captured by Walker Evans, and the radical gestures of gay image making are seen in the works of George Platt Lynes, Paul Cadmus and Robert Loughlin. One of the artists in this sale, George Dureau, a photographer from New Orleans (where Greg is also from) who greatly influenced Mapplethorpe early in his career, perhaps best captures the spirit of this collection, saying about his own work:
“I live a warm, involved, humanist sort of life. There are lots of people passing through it. I have exciting experiences and learn things about people. They always go into my art. I cannot have an experience and it not go into my art.”
Fifty/50 gallery reshaped the collecting market during its twelve-year existence, closing in 1993 after Mark passed away from AIDS; his partner Greg has cared for the collection since. The Collection of Mark Isaacson and Greg Nacozy offers an opportunity to see a short but impactful life lived through an enthusiasm for art and design, one that inspired many to see and appreciate objects and live with them as fully as Mark did.
Leo Amino was born in Taiwan in 1911 and spent his childhood in Tokyo. He traveled to the United States in 1929 where he pursued a degree at a Junior College in San Mateo, California. Two years later, Amino enrolled in a liberal arts program at New York University, completing only one year before taking a job with a Japanese wood importing firm that specialized in distributing pre-cut Macassar ebony to manufacturers. Intrigued by the qualities of the wood, Amino took samples home and experimented with carving them. Recognizing his talent, Amino enrolled in the American Artists School in New York in 1937 where he briefly studied direct carving techniques under Chaim Gross.
Amino’s work was exhibited in the 1939 World’s Fair in New York and he had his first solo exhibition one year later. One of the first American artists to use plastic, Amino began experimenting with the material as early as the 1940s. Amino taught at Black Mountain College in North Carolina from 1947-1950 and at Cooper Union from 1952-1977. Throughout his long career, Amino’s works exhibited sculptural prowess, a mastery of form and material imbued with human emotion. His work is in the permanent collections of several museums including the Smithsonian American Art Museum, Washington, the Whitney Museum of American Art, New York and the Museum of Modern Art, New York.
Auction Results Leo Amino