Sotheby's /Jun 23, 2014
€16,292,773.02 - €22,559,224.18
Artworks in Arcadja251
Some works of Piet MondrianExtracted between 251 works in the catalog of Arcadja
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Description: Piet Mondrian - Lane with Sheaves of Rye (Weg mit Roggengarben). On the reverse at the top signed in black: Mondriaan [!]. On the cardboard backing a label of the Solomon R. Guggenheim Museum, New York. Oil on canvas, laid down on cardboard by the artist. Circa 1890/92 Dimensions: 14 3/4 x 10 7/8 in. Exhibited: Piet Mondrian. Centennial Exhibition. New York, Solomon R. Guggenheim Museum, 1971, cat. no. 1 / Mondrian 1872-1944. Bern, Kunstmuseum, 1972, cat. no. 1 Literature: Maria Grazia Ottolenghi: L'opera completa di Piet Mondrian. Mailand, Rizzoli Editore, 1974 (= Classici dell'Arte 77), cat. no. 5 / Auction 199: Moderne Kunst. Hamburg, Dr. Ernst Hauswedell & Ernst Nolte, 6.-8.6.1974, cat. no. 1284, with illustration
Auction: Christie's -Oct 7, 2014 - AmsterdamLot number: 13
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Piet Mondriaan (Amersfoort 1872-1944 New York) Farmstead on the Gein screened by tall trees with streaked sky signed 'Piet Mondriaan' (lower right) oil on canvas 67 x 93 cm. Painted circa 1907. Anonymous sale; Sotheby Mak van Waay, Amsterdam, 26 April 1977, lot 397. with Kunsthandel G.J. Scherpel, Bussum, where acquired by the family of the present owners. J.M. Joosten, R.P. Welsh, Piet Mondrian Catalogue Raisonné of the Naturalistic Works (until early 1911), Blaricum, 1998, p. 351, no. A494. Jan Jaap Heij, Hollands impressionisme, Bussum, 2013, p. 81. Laren, Singer Museum, Expressionisme in Nederland 1910-1930, 17 November 1994-19 February 1995, no. 71 as: Landschap, het Gein, 1907. Rome, Galleria Nazionale d'Arte Moderna, Il primo Mondrian, 27 October 1995-21 January 1996, no. 40. Laren, Singer Museum, Jan Sluijters 1881-1957, 16 June 2011-22 January 2012, no. 8. Laren, Singer Museum, Hollands impressionisme, 30 May-25 August 2013.
Auction: Christie's -Jun 24, 2014 - LondonLot number: 10
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Lot Description Piet Mondrian (1872-1944) Composition A, with Double Line and Yellow signed with the initials and dated 'PM 35' (lower right); inscribed 'Composition A' (on the stretcher); signed and inscribed 'PIET MONDRIAN Paris 26 rue du Départ' (on the back of the frame) oil on canvas; in the artist's frame 23 3/8 x 22 1/8 in. (59.4 x 56.2 cm.) Painted in 1935 Special Notice Artist's Resale Right ("Droit de Suite"). If the Artist's Resale Right Regulations 2006 apply to this lot, the buyer also agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’’’’s Premium on a VAT inclusive basis. This VAT is not shown separately on the invoice. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction. Provenance James Johnson Sweeney, New York, by whom acquired directly from the artist in June - July 1935. Jon N. Streep, New York, 1945. Sidney Janis Gallery (no. 5701), New York, 1951. John L. Senior, Jr., New York, by 1951. Galerie Beyeler, Basel, by 1957. C. Frua de Angeli, Milan, by 1959. Galerie Beyeler, Basel, 1967. Acquired by the family of the present owner in 1967. Pre-Lot Text A collection that reflects the passion of a hunter who travelled the world in pursuit of big game trophies and exceptional artworks, The Blum Collection is an insightful observation of global culture. Over the past three decades, Rudolf and Leonore Blum traversed continents, developing a sophisticated eye as he assembled species and artworks from around the world. This impressive collection is remarkable both in its breadth and diversity, and stands as a testament to their dedication bring together an unparalleled grouping of artworks which spans the breadth of the art historical canon. Beginning with their earliest explorations into Western Twentieth Century art, as the Blums travelled extensively through Europe and Africa in the 1960s, they became interested in diverse artistic practices, recognizing a deep connection between African art and the Modern art which they had already been collecting. With a steady interest in the local Swiss art scene developing from the 1950s when the Blums collected works by Varlin, Franz Fischer, Gerald Veraguth, and Hans Falk, it was in the early 1960s that they began to build their impressive Twentieth Century art collection. In the 1970s, they extended their collection to include African art and artefacts that complemented their interest in the development of abstraction in Modern and Post-War art. Reflective of Blums’’’’ grand tour, this collection embraces African Tribal Art, Asian Art, Antiquities, Impressionism, Modern British and European Twentieth century. This extensive and varied collection represents the great masters of these disparate art movements, including Piet Mondrian, Wassily Kandinsky, Jackson Pollock, Nicolas de Staël and Alberto Burri. A celebration of a couple’’’’s deeply sophisticated connoisseurship, these works introduce a dynamic dialogue across periods, genre and media: contrasting cultures and mediums from Antiquity to the new millennia. Confident and brave, the couple was not afraid to juxtapose works of art from all periods –antiquity side by side with contemporary, producing provocative conversation between different periods in time. The powerful curves of Atié figures (DATE....) are perfectly echoed by the lyrical compositions of Wassily Kandinsky Schwebender Druck (1931). The totemic Tribal Fang byeri figures are juxtaposed by the precise geometry of Piet Mondrian’’’’s Composition A, with double line and yellow (1935). Through these interrelationships, their art collection comes alive, entering into a dialogue not only with the viewer, but with each other. This is also how the Blums came to live with their extensive collection of Western and African art – they too came into dialogue with their objects, simultaneously ‘living’’’’ and ‘living with’’’’ their collection. As board president of the Gimpel and Hanover Galerie, Blum was well placed to inform his eye through close friendships with the Gimpels, Ann Rotzler and Erica Brausen. Indeed it was through the Gimpels that Blum came to become acquainted with Nicolas de Staël and his family and the artist’’’’s Paysage (1951-52) stands as one of the collector’’’’s most important early acquisitions. Constructed from a carefully considered patchwork of pure colour blocks, Nicolas de Staël’’’’s Paysage captures the tension between abstraction and figuration, which epitomises his practice. As expressed through this work by de Staël, the Blum’’’’s created a collection which, in its entirety, explores the subtle balance between representation and abstraction, which was at the core of much of the art of the Twentieth Century. Some of the earliest Western examples are led by two impressive works from the 1930s, Mondrian’’’’s Composition A, with double line and yellow (1935) and Wassily Kandinsky’’’’s Schwebender Druck (1931). These two works outline different tendencies dominating the emergence of abstract art: one, rational, Apollonian and geometrical; the other emotional, Dionysian and lyrical. This duality is further demonstrated in Blum's collection by the contrasts between works by artists as diverse as Paul Klee, Joan Miró, Kurt Schwitters, Walter Dexel and Georges Vantongerloo, as well as British artists such as Ben Nicholson and William Scott, many of whom the Blums had close personal ties with. Just as Mondrian and Kandinsky were engaging with concepts of abstraction, the Post-War artists built upon this legacy, pushing the material boundaries of paint. Pierre Soulages Peinture 128 x 88 cm, 12 février 1960 dates from an important moment in the artist’’’’s career when he began experimenting with luminosity, scraping back his compositions to expose the shadowy imprint left by his signature black paint. Howard Hodgkin was an artist particularly treasured by the Blums for his ability to infuse remarkable ambience into his work, and we are pleased to offer three of his works in our Modern British auction with Waterfall (1992) offered in the Post-War & Contemporary evening auction. Suggesting natural phenomena without a strict adherence to the confines of figuration, Waterfall overflows the pictorial space, spilling out beyond the painting’’’’s traditional boundaries. Reuniting geometrical compositions with more impulsive, gestural, expressionistic pictures, Blums’’’’ art collection tells the story of painting’’’’s opening towards the forms, patterns, colours and ambitions of abstraction. An astute collector, Blum understood the importance of provenance and the validation of a respected fellow connoisseur’’’’s eye. The Blums’’’’ inexhaustible hunt for those works which not only spoke to them, but came into dialogue with their wider collection, brought them into contact with some of the most important dealers and collectors of the Twentieth Century. Of the Modern British artworks in The Blum Collection, William Scott’’’’s Composition (CLII), (1959), stands out as exceptional example. Following the exhibition of his work at the XXIXth Venice Biennale, Scott enjoyed international recognition, securing a show at the prestigious Galerie Charles Lienhard gallery the following year, where Rudolf Blum frequently bought pictures. Exhibited in November 1959, the initials (CLII) in its title represent the Charles Lienhard provenance. Blum was responding to an artist at the height of his powers, who had naturally developed from his earlier theme of table top still lifes to a second period of abstraction in which the grand scale and strength of colour create a bold dialogue. Ben Nicholson’’’’s aug 59 (Gadero), also purchased from Blums’’’’ friend Charles Leinhard, develops the table top theme with a geometric precision, in contrast to Scott’’’’s work of the same date. Like their collection of paintings, the Blums began collecting African art around 1970, and chose strong and well-structured, one might even say architectural, works: a Fang byeri, a tall Kota reliquary and other Atié figures with powerful curves, all works that found similarity in the eyes of the owner more than bound by any other relation, ethnic or temporal. Here we can find all materials, which enticed them: terracottas, stone monoliths of African forests, bronzes and ivories from the Benin kingdoms, Ashanti gold, copper and brass works of Gabon, and wood from all regions from West, Central and Eastern Africa. According to the remembrances of those closest to them, the Blums’’’’ particularly enjoyed objects which challenged the viewer, inviting critique and opening themselves to deeper contemplation. Indeed to display and juxtapose contrasting works of art side by side, bringing objects of different media and culture together in dialogue is an art form in of itself. What all of these objects have in common is the research and patient desire of the collector to obtain what he has uncovered as an unparalleled specimen of its kind, qualities that find much in common with his own journey of discovery. The Blums appreciation for this aspect of connoisseurship aligns their collection in spirit with many of the great world art collections from the early Cabinets of Curiosities or Kunstkammer of Holy Roman Emperor Rudolf II to the expansive collections of nature and art which would comprise Europe’’’’s first public museum collections. The Blum Collection is a tribute to the intellectual approach, inquisitive eye, and passion of its creators. PROPERTY FROM THE COLLECTION OF RUDOLF AND LEONORE BLUM Literature ‘Mondrian 1935-1936, 1934, 1911', in Circle: International Survey of Constructive Arts, London, 1937, no. 3 (illustrated). A. Sartoris, ‘Piet Mondrian’’’’, in Campo Grafico, January 1938, p. 12 (illustrated). Exh. cat., Museum of Living Art, Philadelphia Museum of Art, 1954, p. 154 (illustrated in a photograph of Mondrian’’’’s studio by A.E. Gallatin). M. Seuphor, Piet Mondrian - Leben und Werk, Zurich/Cologne, 1957, no. 371, p. 389 (illustrated). F. Elgar, Mondrian, Paris, 1968, no. 180 (illustrated p. 193). L.J.F. Wijsenbeek, Piet Mondrian, Recklinghausen, 1968, no. 120 (illustrated p. 151). R. Welsh, ‘Mondrian’’’’, in Revue de l’’’’Art 2, May 1969, no. 96. Y.A. Bois, Mondrian, Recherches et dessins, Paris, 1982, no. 54. A. Nicholson, Unknown Colour, Paintings, Letters, Writings by Winifred Nicholson, London, 1987, pp. 111-112. J. Milner, Mondrian, New York, 1992, no. 154, p. 195 (illustrated). J.M. Joosten, Piet Mondrian, Catalogue Raisonné of the Work of 1911-1944, vol. II, Antwerp, 1998,no. B253, p. 386 (illustrated). Exhibited Lucerne, Kunstmuseum, These, Antithese, Synthese, February - March 1935, no. 74. New York, The Museum of Modern Art, Piet Mondrian, March - May 1945, no. 35. New York, The Museum of Modern Art, Selections from Five New York Collections, June - September 1951. Basel, Galerie Beyeler, Selection: Braque, Cézanne, Chagall, Degas, Dufy, Gleizes, Kandinsky, Klee, Léger, Maillol, Matisse, Miró, Mondrian, Picasso, Soutine, Vuillard, March - April 1959, no. 26. Kassel, Museum Fridericianum, II. Documenta, July - October 1959, no. 26. Basel, Galerie Beyeler, Piet Mondrian, November - January 1965, no. 52 (illustrated). Toronto, The Art Gallery of Ontario, Piet Mondrian, 1872-1944, February - March 1966, no. 102, p. 200 (illustrated p. 201); this exhibition later travelled to Philadelphia, Museum of Modern Art, April - May 1966. Frankfurt, Kunstverein, Konstruktive Malerei 1915-1930, November 1966 - January 1967, no. 51 (illustrated). Zurich, Kunsthaus, Vereinigung Zürcher Kunstfreunde. Mitglieder zeigen ihr Lieblingskunstwerk aus eigenem Besitz, October -November 1968, no. 22. View Lot Notes >
Auction: Sotheby's -Jun 23, 2014 - LondonLot number: 14
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Harry Holtzman, New York (the artist's estate; acquired in 1944) Sidney Janis Gallery, New York (acquired circa 1958) Galerie Beyeler, Basel (acquired in 1958) Acquired from the above by the father of the present owner in 1959 Paris, De Klomp, Mondrian, 1927 Paris, Librairie de l’’Esthétique, Mondrian, 1927 Kassel, Museum Fredericianum, Dokumenta II, Kunst nach 1945, 1959 Basel, Galerie Beyeler, Mondrian, 1964-65, no. 47 New York, The Solomon R. Guggenheim Museum, Piet Mondrian 1872-1944, Centennial Exhibition, 1971, no. 101, illustrated in colour in the catalogue Bern, Kunstmuseum Bern, Piet Mondrian, 1972, no. 93, illustrated in colour in the catalogue Paris, Centre Pompidou, Musée National d’’Art Moderne, Mondrian / De Stijl, 2010-11, illustrated in colour in the catalogue PROPERTY FROM AN IMPORTANT PRIVATE EUROPEAN COLLECTION Piet Mondrian 1872 - 1944 COMPOSITION WITH RED, BLUE AND GREY signed P.M. and dated 27 (lower left); signed P. Mondrian on a piece of the original stretcher affixed to the stretcher and inscribed Haut N: II on the original turnover edge oil on canvas canvas size: 66 by 50cm.; 26 by 19 3/4 in. overall size: 68.5 by 53cm., 27 by 20 3/4 in. Painted in 1927. The canvas is lined and has been placed on a new stretcher. A section of the old stretcher and turnover edge has been affixed to the reverse. There are a few tiny spots of retouching in the white which have faintly discoloured, and some minor retouchings on the framing edges visible under ultra-violet light. This work is in very good stable condition. "In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue. NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Auction: Christie's -Jun 17, 2014 - AmsterdamLot number: 23
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Piet Mondriaan (1872-1944) Summer night signed 'Piet Mondriaan' (lower right) oil on canvas 32.5 x 44.5 cm. Painted circa 1906-07 K. Legat, The Hague (on loan to the Gemeentemuseum The Hague 1955-63). Jon N. Streep, Amsterdam/New York. Allen Frumkin Gallery, New York, 1965. Anonymous sale, Sotheby's New York, 12 November 1987, lot 335. Anonymous sale, Christie's Amsterdam, 7 December 1994, lot 249. Anonymous sale, Sotheby's Amsterdam, 6 December 2006, lot 14. Acquired at the above sale by the present owner. Maria Grazia Ottolenghi, L'opera completa di Mondrian, Milan 1974, no. 144, p. 98 (illustrated). Robert Welsh, Piet Mondrian's early career: The "Naturalistic" Periods, New York 1977, no. 149, p. 91 (illustrated). Robert Welsh, Catalogue Raisonné of the Naturalistic Works (until early 1911), Blaricum 1998, no. A521, p. 360 (illustrated). Toronto, The Art Gallery/Philadelphia, The Philadelphia Museum of Art The Hague, Gemeentemuseum, Piet Mondriaan, 12 February - 7 August 1966, no. 41. The Hague, Gallery Pieter van Voorst van Beest, Piet Mondriaan 1872-1944, September - November 1988. Amsterdam, Gemeentearchief Amsterdam, Mondriaan aan de Amstel 1892-1912, 18 February - 15 May 1994. Tsinandali, Alexander Chavchavadze House-Museum, Once upon a time in Holland. The young Piet Mondriaan and the Masters who inspired him, 1 May - 30 June 2011. Amersfoort, Mondriaanhuis, Mondriaan in de polder, 8 September 2013 - 12 January 2014.