NEW YORK, NY.-
Phaidon presents Don Marron: Chronicle of Collecting
(June 30, 2021; $100 US/$125 CAN; Hardback) , a momentous volume exploring and celebrating the renowned art collection of financier, entrepreneur, and philanthropist Don Marron (19342019). Over the course of six decades, Marron amassed one of the most expansive art collections of our time, a selection of which was jointly sold in 2020 by three leading galleries Acquavella, Gagosian, and Pace Gallery in an unprecedented art world collaboration.
The book pays homage to Marron as one of the most visionary and avid collectors of twentieth and twenty-first century masterpieces. An introduction by Arne Glimcher, founder and chairman of Pace Gallery, details their decades-long friendship and his admiration for Marrons passion and depth of knowledge on art and collecting. Remembrances from Glenn D. Lowry, Director of the Museum of Modern Art, Larry Gagosian, founder of Gagosian, and Bill Acquavella, president of Acquavella Galleries, illustrate Dons character, passion for art, and his method of collecting. Dons son, William Marron, tells the touching story of what it was like to grow up surrounded by this remarkable collection. Accompanying the texts are images from the MoMA archives, personal photographs, and images of works in situ at the Marron family home.
More than 130 impeccably reproduced masterworks are featured in Don Marron: Chronicle of Collecting. Works range from an 1874 Monet landscape to recent works by Mark Bradford and Mark Grotjahn. In between are significant works by Pablo Picasso, including, Guitar (1912) and Femme au béret et la collerette (Woman with Beret and Collar) (1937); Mark Rothkos Number 22 (Reds) (1957); Cy Twomblys Untitled (Camino Real) (2011); Gerhard Richters Helen (1963); and Willem de Koonings Untitled (1975); as well as works by Ed Ruscha, Vija Celmins, Agnes Martin, Brice Marden, and Cindy Sherman not to mention Signac, Matisse, Rauschenberg, Miró, Basquiat, and Lichtenstein, among many others.
Don Marron began collecting in the 1960s and went on to pioneer the corporate collection at PaineWebber (now UBS), where he served as CEO for more than two decades and directed the companys acquisition of more than 850 modern and contemporary works of art. As Arne Glimcher writes in his Recollection, Marrons knowledge was extensive
the passion and pleasure he drew from quality was magnetic. Don Marron: Chronicle of Collecting is an essential addition to all personal, academic, and corporate art libraries.