Details
Piet Mondrian (1872-1944)
Mondrian, P.
Dredge III
signed and dated 'Piet Mondrian. 07' (lower left)
oil on board laid down on board
25 x 29 in. (63.5 x 75.6 cm.)
Painted in 1907
Provenance
H. Bies, Aerdenhout. Art Gallery Monet, Amsterdam. Sidney Janis Gallery, New York (1962).
Acquired from the above by the late owner, circa 1965.
Literature
M.G. Ottolenghi, L'opera completa di Mondrian, Milan, 1974, p. 94, no. 116 (illustrated; as Draga, dated circa 1905).
R.P. Welsh, Piet Mondrian: Catalogue Raisonn of the Naturalistic Works (until early 1911), New York, 1998, vol. I, p. 365, no. A533 (illustrated; illustrated in color, p. 72).
Exhibited
New York, Sidney Janis Gallery, Paintings by Mondrian: Early & Late & Work in Process, January-February 1962, no. 6 (illustrated; as The Amstel at Twilight).
Santa Barbara, Museum of Art; Dallas, Museum of Fine Art, and Washington, D.C., Gallery of Modern Art, Piet Mondrian, 1965, no. 16 (as The Amstel at Twilight).
Toronto, The Art Gallery of Toronto; Philadelphia, Museum of Art, and The Hague, Gemeentemuseum, Piet Mondrian, February-August 1966, no. 43 (as Dredge).

Lot Essay

"In his sketchbooks of circa 1911-1914, Mondrian refers to the positive effects of modern industrial society on man's happiness, and cites as an example the steam-powered Baggermolen [similar to the Dredge] supplanting traditional windmills. Mondrian may have been trying to incorporate new iconographic imagery appropriate to, in his own works, the modern world'" (R. Welsh, Piet Mondrian, The Art Gallery of Toronto,1966, exh. cat., op. cit., p. 43).

Mondrian executed three oil paintings (Welsh, nos. A531-533) and one large charcoal drawing (Welsh, no. A534) of the dredge motif, of which the present work is the most formally structured. "The broad, thin brushstrokes, except at lower right, generally reinforce the vertical and horizontal polarities of the dredge structure, including in its reflection in the foreground water surface. While the monochromatic brownish coloration remains embedded in the artist's naturalist periods, the compositional structure [of Dredge III] anticipates the abstraction which is to come" (R. Welsh, op. cit., p. 365).

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