Piet Mondrian (1872-1944)
PROPERTY FROM THE ISRAEL MUSEUM, JERUSALEM, SOLD TO BENEFIT THE ACQUISITIONS FUND: SELECTIONS FROM THE CARL H. AND RUTH L. GANS COLLECTION
Piet Mondrian (1872-1944)

Landzicht boerderij met witte lucht

Details
Piet Mondrian (1872-1944)
Landzicht boerderij met witte lucht
signed 'PIET MONDRIAAN' (lower right)
oil on canvas laid down on board
19 x 13 in. (48.3 x 33 cm.)
Painted in Amsterdam circa 1905
Provenance
S.B. Slijper, Blaricum (acquired from the artist, 1919); sale, Van Marle en Bingell, The Hague, 20 December 1955, lot X.
Elli Landsberger-Stiasny, The Hague (acquired at the above sale).
Carl H. and Ruth L. Gans, New York (by descent from the above, 1980).
Bequest from the above to the present owner, 2014.
Literature
M. Seuphor, Piet Mondrian: Life and Work, New York, 1956, p. 414, no. 102 (titled Trees by Water).
R.P. Welsh, The Early Career of Piet Mondrian: The Naturalistic Periods, Ph.D. Diss., Princeton University, 1965, pp. vi and 83 (illustrated, fig. 121).
M.G. Ottolenghi, L'opera completa di Mondrian, Milan, 1974, p. 92, no. 83 (illustrated; dated circa 1903 and titled Fattoria tra gli alberi).
R.P. Welsh, Piet Mondrian: Catalogue Raisonné of the Naturalistic Works (until early 1911), New York, 1998, vol. I, p. 330, no. A436 (illustrated).
Exhibited
New York, The Solomon R. Guggenheim Museum, Piet Mondrian Centennial Exhibition, October-December 1971, p. 99, no. 14 (illustrated; dated circa 1903 or 1905 and titled Farmhouse Sheltered by Trees).
Kunstmuseum Bern, Piet Mondrian, February-April 1972, no. 14 (illustrated; dated circa 1903 or 1905 and titled Bauernhof von Bäumen verdeckt).

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Lot Essay

The present work is one of 15 versions of a farmstead setting which Mondrian executed using watercolors (3), charcoal (4) and oil paint (8) from circa 1902 to circa 1906 located “after one passes the Oostzijdse Mill with the village of Abcoude to one’s rear.” Seven were executed viewing the location close to the Oostzijdse Mill (Welsh, nos. A347, A428-A433) while “the eight other versions depict it from the opposite direction with the mill out of view at the right” (Welsh, nos. A345-A346, A434-A439). Because the present work is an oil sketch painted on board, Robert P. Welsh believed it to be executed in situ. The depiction of these works vary considerably in their time of day, weather and light conditions but as Welsh has written, “[they] preclude any comparisons with the systematic serial approach of a Monet. Instead one might consider this more a variations-on-a-theme approach, as Mondrian has sometimes practiced beginning with the Polder Landscapes of circa 1900-01 and as he would continue to explore within his Cubist and Abstract periods” (op. cit., pp. 326-327).
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