LOT DETAILS
Materials:
oil on canvas in artist's frame
Size Notes:
20 x 20
Description:
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Markings:
signed with the initialsP Mand dated30(lower left); signedP Mondrian titledComposition en rouge bleu et jauneand inscribedHautandII(on the stretcher)
Exhibited:
Paris, Galerie 23,Cercle et Carr, 1930, no. 70 (titledComposition noplastique)Stockholm, Stockholmsutstllningen Parkrestauranten,Art Concret: Internationell Utstllning, 1930, no. 59, p. 27, illustrated (titledComposition I)Basel, Kunsthalle,Konstruktivisten, 1937, no. 59 (titledComposition)Copenhagen, Den frie Udstillings Bygning,Liniens Sammenslutning. Efter-Expressionisme Abstrakt Kunst Neoplasticisme Surrealisme, 1937, no. 65, p. 31, illustrated (titledComposition en rouge, bleu et jaune)New York, Rose Fried Gallery,Some Areas of Search from 1913 to 1951, 1951New York, Sidney Janis Gallery,50 Years of Mondrian, 1953, no. 30 (titledComposition in Red, Blue and Yellow)New York, The Museum of Modern Art at the Guest House of Mrs. John D. Rockefeller,Young Collectors, 1954, no. 29 (titledComposition in Red, Blue and Yellow)Zurich, Kunsthaus,Piet Mondrian, 1955, no. 101, p. 55, illustrated (titledkomposition mit rot, blau und gelb)New York, World House Galleries,The Struggle for New Form, 1957, no. 57 (titledComposition in Red, Blue and Yellow)New York, Sidney Janis Gallery,An Exhibition of Paintings, Drawings and Watercolors by Piet Mondrian, 1963, no. 24, illustrated in the catalogue (titledComposition in Red, Blue& Yellow)Paris, Orangerie des Tuileries,Mondrian, 1969, no. 88, p. 129, illustrated(titled Composition avec rouge, jaune et bleu)New York, The Solomon R. Guggenheim Museum,Piet Mondrian 1872-1944. Centennial Exhibition, 1971, no. 108, p. 190, illustrated in color (titledComposition with Red, Blue and Yellow)New York, Sidney Janis Gallery,Mondrian: An Exhibition of Paintings & Drawings 1900-1944, 1980, no. 16, n.p., illustrated (titledComposition in Red, Blue and Yellow)The Hague, Haags Gemeentemuseum; Washington, D.C., National Gallery of Art; New York, The Museum of Modern Art,Piet Mondrian, 1994-95, no. 125, p. 241, illustrated in color (titledComposition II; Composition I; Composition en Rouge, Bleu et Jaune (Composition in Red, Blue, and Yellow)) (exhibited in Washington D.C. only)Tate Liverpool,Mondrian and His Studios, Colour in Space, 2014, no. 11, p. 27, illustrated in color (titledComposition No. II / Composition I / Composition en Rouge, Bleu et Jaune)London, Tate Modern (on loan April 2015-May 2016)
Literature:
Michel Seuphor,Piet Mondrian, Life and Work, New York, 1957, no. 517, pl. 173, illustrated in color; classified catalogue no. 350, p. 387, illustrated (titledComposition avec rouge, bleu et jaune / Composition with Red, Blue and Yellow); Sam Hunter,Mondrian, New York, 1958, pl. 11, illustrated in color (titled Composition in Red, Blue, and Yellow); Michel Butor, Le Carr et son habitant,??Nouvelle Revue Franaise, no. 97, January 1961, pp. 122, 123 and 126; Carlo L. Ragghianti,Mondrian e larte dell XX secolo, Milan, 1962, illustrated in color p. 335; Exh. Cat., Toronto, Art Gallery of Toronto; Philadelphia Museum of Art; The Hague, Gemeentemuseum,Piet Mondrian 1872-1944, 1966, p. 194; Alberto Busignani,Mondrian: The Life and Work of the Artist, New York, 1968, pl. 66-67, illustrated in color(titled Composition with Red, Blue and Yellow); Frank Elgar,Mondrian, New York, 1968, no. 163, p. 173, illustrated in color (titled Composition with Red, Blue and Yellow); H. H. Arnason,History of Modern Art, New York, 1968, pl. 182, illustrated in color; H. W. Jansen,History of Art, New York, 1969, pl. 78, illustrated in color; Hans L. C. Jaff,Piet Mondrian, New York, 1970, p. 145, illustrated in color (titledComposition with Red, Blue, and Yellow); Mondrian: Centennial of a Dutch Master,??Life, 19 November 1971, vol. 71, no. 21, p. 43, illustrated in color; Alfred Roth,Begegnungen mit Pionieren, Stuttgart, 1973, p. 157; Maria Grazia Ottolenghi, LOpera completa di Mondrian, Milan, 1974, no. 396, p. 112, illustrated (titledComposizione con rosso, giallo e blu); Kent Tiedeman, Mondrian: The Flowering Apple Tree, 1912,??The Counterpoint to Likeness. Essays on Imitation and Imagination in Western Painting, Davis, California, 1977, p. 53, illustrated(titled Composition with Red, Blue and Yellow); Karl Lunde, Anuszkiewicz, New York, 1977, pl. 46, p. 70, illustrated (titledComposition with Red, Yellow, and Blue); Kermit Swiler Champa, Piet Mondrians Painting Number IIComposition with Grey and Black,'Arts Magazine,vol. 52, January 1978, illustrated p. 88; Oscar Reitersvrd, Otto G. Carlsund och hans postkubistiska expo. Stockholmsutstllningen 1930,??1930/80. Architektur Form Konst, 1980, p. 55, illustrated in an installation photograph of the Paris, Galerie 23 exhibition Cercle et Carr in 1930; Kermit Swiler Champa,Mondrian Studies, Chicago and London, 1985, p. 110, illustrated; Exh. Cat., New York, Sidney Janis Gallery,Early Paintings, Watercolors & Drawings by Piet Mondrian, 1985, n.p., illustrated in an installation photo of the 1963Sidney Janis Mondrian exhibition; Exh. Cat. The Hague, Gemeentesmuseum Den Haag, Mondrian in the Sidney Janis Family Collections, New York, 1988, p. 22, illustrated in an installation photo of the1963Sidney Janis Mondrian exhibition; Joop M. Joosten,Piet Mondrian: Catalogue Raisonn of the Work of 1911-1944, vol. II, New York, 1998, no. B219, p. 352, illustrated (titled Composition No. II / Composition I // Composition en rouge, bleu et jaune); Marty Bax,Complete Mondrian, Aldershot and Burlington, 2001, p. 324, illustrated (titledComposition No. II/Composition I/Composition e rouge, bleu et jaune); Exh. Cat. The Hague, Gemeentesmuseum Den Haag,Mondrian: in het Gemeentemuseum Den Haag, 2008, p. 245, illustrated in color; Exh. Cat., Paris, Centre Pompidou,Mondrian/De Stijl, 2010-11, illustrated in an installation photograph of the Paris, Galerie 23 exhibitionCercle et Carrin 1930; Exh. Cat. The Hague, Gemeentesmuseum Den Haag,Alexander CalderDe grote ontdekking, 2012, pp. 54 and 130, illustrated in color (titledComposition No. II / Composition I // Composition en rouge, bleu et jaune); Andrea Kollnitz, 'Universal Language on National GroundOtto G. Carlsund andArt Concret at the Stockholm Exhibition 1930,'Avant-Garde Critical Studies, vol. 36, January 2019, p. 311, illustrated in an installation photograph; Netherlands Institute for Art History (RKD), eds.,Piet Mondrian: Catalogue Raisonn, no. B219
Provenance:
Otto Carlsund, Paris and Stockholm (on loan from the artist 1930-35); The artist (until at least 1937); Private Collection, Paris (acquired after 1937 and untilcirca1949); Csar Domela, Paris (acquiredcirca1949); Sidney Janis Gallery, New York (acquired in 1950); Mr. and Mrs. Armand P. Bartos, New York (acquired in 1950); Christies, London, 27 June 1983, lot 8 (consigned by the above); Fukuoka City Bank, Fukuoka (acquired at the above sale and until at least 1995); Acquavella Galleries, New York; Acquired from the above in 2004 by the present owner