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Piet Mondrian Sold at Auction Prices
Painter, Etcher, b. 1872 - d. 1944
Piet Mondrian, born in the Netherlands in 1872, studied at the Royal Academy of Visual Arts in Amsterdam for three years before moving on to become one of the founders of the De Stijl movement. Primarily modern and abstract pieces, Piet Mondrian's artwork consists of geometric blocks of colors and vertical and horizontal lines.
He was an early member of the Theosophical Society, and Piet Mondrian's paintings reflect his belief in the presence of perfectly balanced energy that exists in all things, which he represents with simplified shapes and colors. The compositions of Piet Mondrian's paintings are meant to intentionally communicate the positive and negative, or female and male, dynamics of reality. Piet Mondrian's legacy left behind Neoplasticism, which became a major influence on modern abstract art. An array of Mondrian's art for sale as well as other rare abstract paintings are available at Invaluable.
Piet Mondrian "Small Birch Forest" Pencil and Watercolor on Paper. Measures 10 inches x 7 inches. Please carefully read our terms of sale, shipping information, and request any condition reports or photos prior to placing a bid. Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact.
Mid-Century Modern Shaggy Rya Rug, Piet Mondrian Style. This large rug is bordered in black with a geometric pattern in primary colors after Dutch cubist Piet Mondrian (1872-1944). Dimensions are 80 in h x 55 in w x 1 in d. Condition is good with minor wear and discoloration throughout. Please call or email for a detailed condition report.
A farmstead with a long row of trees on the Gein, signed 'Piet Mondriaan.' (lower left), oil on paper, mounted on panel, 40x62 cm, Literature: -Joop M. Joosten and Robert P. Welsh, ‘Piet Mondrian. Catalogue Raisonné’, Leiden/Toronto 1998, ill. p. 350, no. A490, where dated circa 1905-1907. Exhibited:-Maastricht, Pictura, ‘Voorjaarstentoonstelling 1979'.Provenance:-Collection Cornelis Bergman (1867-1947), Amsterdam, probably acquired circa 1905/07, thence by descent to his heirs.-With Kunsthandel Ivo Bouwman, The Hague, 1979, where acquired by the family of the present owner, Painted circa 1905-1907.Please compare to a watercolour and oil sketch by the artist with the same composition in: Joop M. Joosten and Robert P. Welsh, ‘Piet Mondrian. Catalogue Raisonné’, Leiden/Toronto 1998, ill. p. 349-350, no. A489 and A491. The painting ‘Farmstead with long row of trees on the Gein’ is exemplary of the work Piet Mondrian made between c. 1900 and 1910 along the river 't Gein, south of Amsterdam. He got to know the area in the years around the fin-de-siècle, as evidenced by, among other things, photographs in which we see the artist posing with friends in the area [Fig. 1]. On both sides of 't Gein, Mondrian found motifs for his work in the windmills, farms and groups of trees present there after which he produced many dozens of paintings, watercolours and drawings. In doing so, he regularly worked in series of works of the same motif, demonstrating his urge for innovation. Executing one subject several times allowed him to experiment with the possibilities of expression offered by different media and techniques. This also applies to the painting Farmstead with long row of trees on the Gein, of which two other versions are known.Together, the three works shed more light on Mondrian's working methods during this period. The watercolour is likely to have been the first work in the series [fig. 2]. Mondrian executed the composition of the river with the groups of trees and the farmhouse in this work in considerable detail, seeming to have remained true to what he saw, such as the reed collar at the bottom left of this particular work. The second work in the series is Farmstead with long row of trees on the Gein. In this painting, Mondrian takes a much freer approach to the motif, which he set up smoothly in broad brushstrokes. Details like the reed collar visible in the watercolour are omitted in the oil version. By placing less emphasis on such details, Mondrian managed to evoke a more general image in the painting, where individual forms merge in favour of the big picture. Mondrian himself wrote of this period: 'I preferred to paint landscape and houses seen in grey, dark weather or in very strong sunlight, when the density of atmosphere obscures the details and accentuates the large outline of objects.'* How deceptive the apparent simplicity of execution is, however, is evident from closer examination of the work. In some places, the paint has been applied so thinly that the support is visible here and there, while in other places Mondrian painted several layers on top of each other. He did the latter, for example, in the transition from water to land, where he used a single flowing brushstroke to create the illusion of a partially calved, jagged shore line. Mondrian also applied the section of shore on the left-hand side of the composition, at the level of the horizon, in a virtuoso manner by a few vertical strokes of a brush loaded with ochre paint. Mondrian's craftsmanship is evident in passages like this, where he barely allowed the brush to touch the paper. Although the individual brush hairs can be counted, the suggestion of the bank is still unmistakable. The third and final work in the series [Fig. 3] is the smallest and most sketchy rendering of the motif, where the large outline is even more emphasised. The first owner of Farmstead with long row of trees on the Gein was Cornelis 'Cees' Bergman (1867-1947). Mondrian probably met this Amsterdam coffee merchant and amateur painter through the Sint Lucas artists' society, of which Mondrian became a member in 1897 and Bergman in 1900. From their acquaintance onwards, Bergman supported Mondrian financially, buying work from him with some regularity until well into the 1930s. Bergman's Mondrian collection, which grew to some two dozen paintings, watercolours and drawings from 1905 to 1938, is far less well known than those of such collecting contemporaries as J.F.S. Esser, Albert Pieter van de Briel and Salomon Slijper. It is a gap in Mondrian studies, which can be filled a little further thanks to the work now auctioned. What is also special about the Bergman collection is that he had his portrait painted by Mondrian, as well as those of his wife Elisabeth Cavalini and four of their children. The portraits of Cavalini and two of the children were only rediscovered and added to Piet Mondrian's oeuvre in 2018 and 2022, respectively.It seems that Bergman passed on the painting to his son Cornelis Bergman Jr. On the back of the work is an inscription thanking Bergman Jr. for his 'most excellent help' in restoring the work in 1927. The inscription also reveals that the painter Max Nauta assisted in that restoration. It is not known why that restoration took place and what was done. The work is in good and apparently authentic condition. In later years, the work may have passed to Elisabeth Philippina Bergman, the daughter of Bergman Jr. This can be inferred from an old photograph of the work in the collection of the RKD - Netherlands Institute for Art History. On the back of that photo is a stamp with her name and address at the time. She may have been the one that sold the work in the 1970s, after which it was sold to its current owner at the spring exhibition of art fair Pictura. Wietse Coppes, October 2023 * Piet Mondrian, Towards the True Vision of Reality, New York 1942
Piet Mondrian, Composition en rouge, bleu et jaune, Farbserigraphie Piet Mondrian, 1872 Amersfoort - 1944 New York City, Composition en rouge, bleu et jaune, Farbserigraphie nach dem Gemälde von 1930, 62 x 62 cm, NOUVELLES IMAGES éditeurs France, etwas knickfaltig, o. Rahmen Piet Mondrian, Composition en rouge, bleu et jaune, colour serigraph Piet Mondrian, 1872 Amersfoort - 1944 New York City, Composition en rouge, bleu et jaune, colour serigraph after the painting from 1930, 62 x 62 cm, NOUVELLES IMAGES éditeurs France, somewhat creased, without frame.
MONDRIAN PIET (1872 - 1944). Composition.. Monogram lower right in plate. Sheet from the volume XX Siècle, vrai et faux réalisme dans l'art contemoirain, June 1957 - n.9. Total edition: 1500 copies. Publisher: San Lazzaro, Paris. Handmade by Daniel Jacomet, Paris.. 24,40 x 31,00 cm. 1957.
Piet Mondrian. Limited edition , 38x28cm, phototype heliogravure,exceptional quality and size (38x28.5 cm) by Arts Edition Impression Ars Longa Vita Brevis
Piet Mondrian. Limited edition , 38x28cm, phototype heliogravure,exceptional quality and size (38x28.5 cm) by Arts Edition Impression Ars Longa Vita Brevis
Piet Mondrian. Limited edition , 38x28cm, phototype heliogravure,exceptional quality and size (38x28.5 cm) by Arts Edition Impression Ars Longa Vita Brevis
Piet Mondrian. Limited edition , 38x28cm, phototype heliogravure,exceptional quality and size (38x28.5 cm) by Arts Edition Impression Ars Longa Vita Brevis
Piet Mondrian (1872-1944) limited edition signed, color lithograph. It is a limited-edition series, it being number 59/200. It was produced on handmade BKK Rives Infinity paper and it measures 23 inches x 27 inches. It is tastefully double matted and framed under glass in a simple golden frame. On the verso, you will find a Grafy.Blog sticker for verification. This piece comes with a COA.
Piet Mondrian (after) - "Composition en Jaune, Bleu et Rouge" Porcelain Plate Gift box with a Limoges porcelain plate after Piet Mondrian Made in France. Very good condition, diameter: 21 cm Coffret d’une assiette d’après Piet Mondrian en porcelaine de Limoges Fabriquée en France. Très bon état, diamètre : 21 cm
Piet Mondrian (after) - "Composition B avec du Rouge" Porcelain Plate Gift box with a Limoges porcelain plate after Piet Mondrian Made in France. Very good condition, diameter: 21 cm Coffret d’une assiette d’après Piet Mondrian en porcelaine de Limoges Fabriquée en France. Très bon état, diamètre : 21 cm
Titled: Broadway Boogie Woogie. Frame is in good condition. Frame measures approximately 23in x 22.25in. Image measures approximately 11.75in x 11in. NR12590 SA
After Piet Mondrian (1872-1944), Watercolour and gouache, Composition with rectangles. Signed with initials and dated (19)41. Approx. 15 3/4" x 20 1/2"
"Composition with Large Red Area" by Piet Mondrian, 2014 Unsigned Offset Lithograph. Paper size is 27.5 x 27.5 inches, with an image size of 21.5 x 21.5 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A: Mint. Additional details:
Titled: Broadway Boogie Woogie. Frame is in good condition. Frame measures approximately 21.75in x 21in. Image measures approximately 11.75in x 11in. NR12590 SA
Piet Mondrian lithograph on BFK Rives paper. Titled 'Composition I'. Signed in the plate lower right. Numbered 30/200 and holds blindstamp lower left. Holds watermark lower right. Includes COA. Sheet measures 26" x 19 3/4".
Piet Mondrian lithograph on BFK Rives paper. Titled 'New York City I'. Signed in the plate lower right. Numbered 42/200 and holds blindstamp lower left. Holds watermark lower right. Includes COA. Sheet measures 26" x 19 3/4".
MONDRIAN PIET: (1872-1944) Dutch painter, a pioneer of 20th century abstract art. A rare A.L.S., P. Mondrian, two pages, 8vo, n.p., 2nd March 1926, to [Felix] Del Marle, in French. Mondrian thanks his correspondent for their letter which he had received that morning, continuing 'J'avais hier fini mon article que j'ai fais apres votre depart, inspire par ce que nous avions cause et surtout par ce que vous et Madame m'avaient dit a propos de mon atelier' (Translation: 'Yesterday I had finished my article which I wrote after your departure, inspired by what we had discussed and especially by what you and Madame had told me about my studio'), asking for his French to be corrected if necessary ('Ce n'est pas necessaire que ce soit beau francais (au contraire!) mais il faut que ce soit correct'; Translation: 'It doesn't have to be beautiful French (on the contrary!) but it has to be correct'), forwarding two photographs (no longer present), explaining that one has not been previously published and commenting 'Il me semble ce que ce sera tres bien si vous pouriez faire un cliche sur linoleum ou bois; j'ai vu que vous les faites. Un pareil grand cliche sur zinc de deviendra egalement trop cher et moins beau' (Translation: 'It seems to me that it will be very good if you could make a plate on linoleum or wood; I have seen you do them. Such a large plate on zinc will also become too expensive and less beautiful') before concluding 'Il m'interesserai ce que vous dites de mon article; je crois il peut etre utile au mouvement' (Translation: 'I'll be interested in what you say about my article; I believe it can be useful for the movement'). A letter of good association. VG Felix Del Marle (1889-1952) French Futurist painter and artistic director of the avant-garde magazine Vouloir.
Piet Mondrian. Limited edition , 38x28cm, phototype heliogravure,exceptional quality and size (38x28.5 cm) by Arts Edition Impression Ars Longa Vita Brevis
