Piet Mondrian, ‘Komposition II, with Red, 1926’, 1926, Christie's

Signature: signed with initials and dated 'P M 26' (lower center)

Dresden, Internationale Kunstausstellung Kühl, 1926 (titled Komposition. Dresden II).

Mannheim, Städtische Kunsthalle, Wege und Richtungen der Abstrakten Malerei in Europa, January-March 1927, p. 18, no. 253 (titled Komposition III).

(possibly) Frankfurt, Kunstgewerbemuseum, Der Stuhl, March 1929.

New York, The Museum of Modern Art, Piet Mondrian, March-May 1945, no. 27 (titled Composition in White and Red).

New York, Valentine Gallery, Mondrian Paintings, March 1946, no. 7 (titled Composition. Noir, Blanc, Rouge).

New York, Sidney Janis Gallery, Piet Mondrian, February-March 1951, no. 23 (titled Composition).

New York, Sidney Janis Gallery, 50 Years of Mondrian, November 1953, no. 27 (titled Square Composition).

New York, Sidney Janis Gallery, Arp & Mondrian, January-March 1960, no. 25 (illustrated; titled Composition in a Square).

London, Tate Modern, Van Doesburg & The International Avant-Garde: Constructing a New World, February-May 2010.

Paris, Musée national d'art moderne, Centre Georges Pompidou, Mondrian/De Stijl, December 2010-March 2011, p. 352 (illustrated in color, p. 229).

"Black is Right" in Town & Country, vol. 99, no. 4261, June 1944, p. 64 (illustrated).

M. Seuphor, Piet Mondrian, Life and Work, New York, 1956, p. 428, no. 484 (illustrated, p. 386, no. 331; titled Composition in a Square).

C. Greenberg, "Modernist Painting" in Arts Yearbook 4, 1961, p. 106 (illustrated; titled Composition in a Square).

C.L. Ragghianti, Mondrian e l'arte del XX secolo, Milan, 1962, pp. 332, 338 and 375 (illustrated, p. 306, fig. 535; titled Composizione con quadrato).

F. Elgar, Mondrian, New York, 1968, p. 243, no. 121 (illustrated, p. 131; titled Composition in a Square).

M.G. Ottolenghi, L'opera completa di Mondrian, Milan, 1974, p. 111, no. 367 (titled Composizione in un quadrato).

N.J. Troy, "Correspondence between Katherine S. Dreier and Piet Mondrian" in Mondrian and Neo-Plasticism in America, exh. cat., Yale University Art Gallery, New Haven, 1979, p. 61.

H. Holtzmann and M.S. James, eds., The New Art—The New Life: The Collected Writings of Piet Mondrian, Boston, 1986, no. 170 (unfinished work illustrated; titled Composition in a Square).

J.M. Joosten, Piet Mondrian, Catalogue Raisonné of the Work of 1911-1944, New York, 1998, vol. II, p. 322, no. B170 (illustrated).

M. Bax, Complete Mondrian, London, 2001, p. 512 (illustrated).

V. Pitts Rembert, Piet Mondrian in the USA: The Artist’s Life and Work, New York, 2001, p. 94 (illustrated in color in the artist’s studio).

Kunstausstellung Kühl, Dresden (on consignment from the artist, 1926).

Estate of the artist (Harry Holtzman, New York) (1944-1960).

Sidney Janis Gallery, New York.

Edgar J. Kaufmann, Jr., New York (acquired from the above, 1960); Estate sale, Sotheby's, New York, 15 November 1989, lot 13.

Private collection, Europe (acquired at the above sale); sale, Christie’s, London, 22 June 2004, lot 30.

Acquired at the above sale by the present owner.

About Piet Mondrian

Avoiding references to the real world, and using only the primary colors (red, blue, and yellow), the primary values (black, white, and grey), and the primary directions (horizontal and vertical), Piet Mondrian created abstract paintings through which he sought to reveal universal harmony and order. This idealistic pursuit was shared by his fellow Dutch painter Theo van Doesburg. Together they cofounded the pioneering and highly influential movement De Stijl (The Style) in 1917. Through De Stijl, Mondrian and van Doesburg galvanized an artistic response to what they believed would be the beginning of a new era after World War I, where art and life would be integrated. His Composition in Red, Blue, and Yellow (1930), with its gridded black lines locking squares of color into a geometric composition, exemplifies the visual vocabulary he created to express his ideas.

Dutch, 1872 - 1944, Amersfoort, Netherlands