Piet Mondriaan (1872-1944)
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Piet Mondriaan (1872-1944)

Landscape with Apple Tree at Left: Winter Landscape

Piet Mondriaan (1872-1944)
Landscape with Apple Tree at Left: Winter Landscape
signed 'Piet Monriaan [sic]' (lower right)
oil on canvas
35.5 x 61.5 cm.
Painted circa 1907.
Mr. P.R. Nieboer van Haasen, circa 1910.
Mr. S.A. Nieboer, Rotterdam, circa 1959-63.
Mr. Dr. P. Dobbelmann, Nijmegen.
Kunsthandel d'Eendt, Amsterdam, 1963, where acquired by the present owner.
K.E. Schuurman, Gemeentemuseum Den Haag. Catalogus schilderijen: afdeling moderne kunst, The Hague 1962, cat.no. 436.
Robert P. Welsh, Piet Mondrian: Introduction and catalogue, Toronto/Philadelphia 1966, cat.no. 94-95, ill..
Robert P. Welsh, Piet Mondrian. Catalogue Raisonné of the Naturalistic Works (until early 1911), Leiden/Toronto 1998, inv.no. A 499, p. 353, ill..
The Hague, Gemeentemuseum, Mondriaan, 10 February-12 April 1955, cat.no. 31.
Zürich, Kunsthaus, Mondrian, 22 May-July 1955, cat.no. 15.
London, Whitechapel Art Gallery, Mondrian, 5 August-11 September 1955, cat.no. II.
Amsterdam, Stedelijk Museum, Europa 1907, 6 July-29 September 1957, cat.no. 81.
The Hague, Gemeentemuseum/Toronto, The Art Gallery of Toronto, Piet Mondrian, 12 February-20 March 1966, cat.no. 46.
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Sale room notice
Please note that the entry should read ' Piet Monriaan [sic]' (lower right) and has been painted circa 1907.

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Lot Essay

Trees of different shapes and species form a crucial part of Mondriaan's oeuvre. The present lot is part of a mini-series of three paintings, based upon the same setting, with the same apple tree at the left (Welsh A498-500). In one of them (Welsh cat.no. A500) a building can be identified as Anna's farm, located adjacent to café De Vink near the river Gein, on the outskirts of Amsterdam. Mondriaan's fascination with trees, whose verticality so dramatically punctuates the often level horizons of the Dutch landscape in a manner that anticipates his later abstract works, would remain visible throughout his career, resulting in several series in which trees as a subject would slowly evolve into abstract form. Welsh suggests that this Apple Tree series can be considered an anticipation of the Blue Tree series of circa 1908 (fig. 1), which shows a clear direction towards his later abstract paintings.

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