Details
PIET MONDRIAN(1872-1944)
Boerenerf in het Gooi geflankeerd door jonge boompjes (Farmyard in Het Gooi flanked by saplings)
oil on canvas
31 x 44cm.
Painted in 1901-1902
Provenance
Nelly Posthumus Meyjes, Amsterdam (acquired directly from the artist in the early 1900s).
‌Galerie Valentien, Stuttgart.
‌Anon. sale, Christie's Amsterdam, 1 June 1995, lot 230.‌
‌Simonis & Buunk Kunsthandel, Ede.
‌Kunsthandel Studio 2000, Blaricum.
Acquired from the above by the present owner in 2000.
Literature
Robert P. Welsh, The Early Career of Piet Mondrian: The Naturalistic Periods, Ph.D. Diss., Princeton University, 1965, pp. 63-64 (illustrated, fig. 15).
‌Robert P. Welsh, Piet Mondrian 1872-1944, Toronto 1966, p. 57.
‌Robert P. Welsh, Piet Mondrian's Early Career, New York/London 1977, p. 63, no. 81 (illustrated).
‌Joop M. Joosten, Robert P. Welsh, Piet Mondrian: Catalogue Raisonné of the Naturalistic Works (until early 1911), New York 1998, p. 224.
‌Katjuscha Otte, Robert P. Welsh, Piet Mondriaan : leven en werk, Amsterdam 2015, p. 68, as 'Boerenerf in het Gooi geflankeerd door jonge boompjes, 1901-1902', given measurements are 20,5 x 43cm.
Exhibited
Toronto, The art Gallery of Toronto, Piet Mondriaan 1872-1944, 1966, no. 22 (illustrated), as ‘Framyard (Boerenhof), 1902’. This exhibition later travelled The Hague, Gemeentemuseum Den Haag and Philadelphia, Museum of Art.
Special notice
Please note this lot is the property of a consumer. See H1 of the Conditions of Sale.
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Lot Essay

The present lot can be dated around 1901-1902. The triangular house must be located in the surrounding of Amsterdam. Mondrian depicted several of these type of farms, located at the outskirts of the city, near Abcoude, along the river Gein. The trees are vaguely outlined as the other elements in the composition. Although an exact identification is not possible, this painting resembles the series of farms done along the river Gein with willows such as ‘Curved Canal with Farm Building at Right‘ (Welsh no. A 299).

The willows are found in rows lining the edges of various canals, where their tenacious root structure serves to strengthen the embankment. Mondrian was most inspired by these trimmed trees, standing in long vertical rows along the Gein, determining the landscape.
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