Category talk:Paintings by Piet Mondriaan

collection resource for images of Gemeentemuseum the Hague: http://mondriaan.nl/items/index/row/tag:kunstwerk --Hannolans (talk) 00:10, 6 January 2015 (UTC)

I would suggest uploading all the images and reproductions of Mondrian's works from this site, as it contains more than enough material for an adequate representation of Mondrian's complete work --Edgar Allan Poe (talk) 17:21, 4 January 2015 (UTC)

Copyright problem

The paintings of Piet Mondriaan are in the public domain in the Netherlands, as he died over 70 years ago, but according to the Mondrian foundation, there is still copyright in the US on "ca 45%" of the works (see here), as it is "by foreign artists created and first reproduced and published in another country between 1923 and 1978". It therefore seems that for his work made outside the US and 1923-1942 this applies {{Not-PD-US-URAA}}, which means a lot of them should be deleted.

In his work sept1940-1944, he was in the US, and thus probably the tagging should be changed to US-copyrighted works... Can anyone confirm whether my assessment is correct and what appropriate action is here? L.tak (talk) 15:48, 5 January 2015 (UTC)

More or less, except that there's the big problem of figuring out when and where a particular painting was originally published, not made. Even works created before 1923 may have been published 1923 or later, and would thus have gotten a URAA-restored copyright.

In any case, the works listed in the NIEs by the "Holtzman (Elizabeth McManus) Irrevocable Trust" (which is the Mondriaan Trust you mentioned) are off limits. These are listed starting at page 46141 in the Aug 30 1996 NIEs. Note that this is not necessarily a complete list; though I would presume that the trust did list in 1996 all images known to them. But it's possible that today they manage even more of Mondriaan's works, and that some of these additional works also got a restored copyright. NIEs were only needed to enforce the restored copyright against users who had already been using a work on PD grounds before the URAA became effective; to enforce a restored copyright against someone who starts using the work after 1996, no NIE is needed.

Lupo 16:11, 5 January 2015 (UTC)

Addendum: yes, works first published in the U.S. would not have been eligible for URAA restored copyrights. For such works, one would have to check for copyright renewals. Lupo 16:22, 5 January 2015 (UTC)

The URAA is not the only issue. The US and the Netherlands have had bilateral copyright relations since 1899, so there is also the possibility of a Subsisting copyright as well. Each individual work done in the Netherlands since 1923 needs a US copyright clearance, since it could have gained protection in the United States through registration, and then lost it due to non-renewal long before the URAA came into effect (and thus be ineligible to be restored), or have been renewed and still be under copyright. That being said, a quick search of the Stanford and USCO databases does not show any renewals or post-1978 registrations, but that is not conclusive. Revent (talk) 18:40, 5 January 2015 (UTC)

AFAIK, "failure of renewal" is a reason to get a URAA restored copyright if the foreign work was published abroad and then more than 30 days later registered in the U.S. See 17 USC 104A. Lupo 19:25, 5 January 2015 (UTC)

I should have been more clear, when I'm making a point about one thing I tend to be vague about others unless I'm being pedantic, Yeah, only in a case where the painting was simultaneously 'published' in the US by registration within 30 days would it become ineligible to be restored due to not renewing... I should have said 'protection as a US work', instead of just protection in the US. The actual language is 'PD in the US due to noncompliance with formalities imposed at any time by US copyright law...' unless it was simultaneously published. Revent (talk) 01:17, 6 January 2015 (UTC)

I added the list found in Aug 30 1996 NIEs below. But many, many of the works are before 1923! For example all the works in Domburg are between 1908-1912. Why are those works on this list? In this Dutch newspaper article from last week the Trust said that Dune I is now without copyright, however, I see it on the list below. quote (Sorry in Dutch): --Hannolans (talk) 18:51, 5 January 2015 (UTC)

"'Duin II' niet, maar 'Duin I' wel. Niet de 'Chrysant' uit het Guggenheim Museum, maar een vergelijkbaar werk uit het Stedelijk Museum wel. Wel 'Avond; de rode boom', maar niet 'De grijze boom' en 'Bloeiende appelboom'. Dat zijn drie werken die je als een serie zou kunnen beschouwen."

I don't know about why "Dune I" is on that NIE list but would be OK now. If it's OK now, it probably should have never been on that list. (If it's OK now, it must have been published originally before 1920, but in that case, it would have never gotten an URAA-restored copyright in the first place. Unless the trust goes by the Twin Books v. Disney case...) Anyway, here's an English summary of your Dutch article. Perhaps the best might be if we could get hold of that list Trouw got: that list would probably contain exactly those that the trust considers copyright-free in the U.S. Lupo 19:47, 5 January 2015 (UTC)

Indeed, that seems to be the best way forward. I'll send the trust an email and ask for the list (and their basis for that) so we can move forward... L.tak (talk) 21:33, 5 January 2015 (UTC)

And if that fails, there's still the option of contacting the trust directly. But that should perhaps better be handled by the WMF or in any case someone a bit more official than us arbitrary volunteers. Maybe the GLAM people could help. Lupo 21:46, 5 January 2015 (UTC)

If something was published in 1921 or 1922, it did get a URAA-restored copyright but which then expired relatively quickly (by Jan 1 1998, with a 75-year term). Some of these sound like they are from before that though, which could then only rely on the Twin Books ruling. It also sounds like they are trying to claim rights in Europe based on infringing the American copyright (by making them visible to American viewers) but they would have to sue in American court over that. Basically sounds like a trust trying to maximize its potential rights in claims. But yes, works published 1923 or later should have a valid U.S. copyright and are likely problems here. Carl Lindberg (talk) 21:38, 5 January 2015 (UTC)

Since they write on their own page "in the US copyright protection is extended for images by foreign artists created and first reproduced and published in another country between 1923 and 1978", I doubt that they go by Twin Books. So maybe "Dune I" was one of those originally published 1921 or 1922. (Good point, actually, I forgot that back in 1996, the cut-off date was 1921.) Lupo 21:46, 5 January 2015 (UTC)

Oops, I sent an email to the trust already (stating I am a volunteer acting in no formal capacity), suggesting that if they send a list with a basis, that we'd be able to delete anything that shouldn't be there (and that if they want to, they can get into contact with wikimedia foundation, but should not place any legal threats statements through a user account here..). I'll keep you posted! L.tak (talk) 21:57, 5 January 2015 (UTC)

Oh, I misread. I had suggested to contact the Dutch newspaper Trouw and thought you were going to do that. Well, no harm done (I think). AFAIK, the GLAM teams are also volunteers, just with possibly more experience in such things. I actually don't know what kind of "official" backing they have... Lupo 22:08, 5 January 2015 (UTC)

Ok, the current thesis is that Mondriaan paintings before 1923 are ok (made in Holland), and paintings after 1940 (made in New York) are ok, but paintings between 1923 and 1940 (made in Paris and London) are not OK. But this thesis is not congruent neither with the list below, as well as the paintings mentioned in the article... I'm very curious about the response. --Hannolans (talk) 00:04, 6 January 2015 (UTC)

The copyright statements as you state it isis indeed not congruent with our images (e.g. file:Piet Mondriaan, 1930 - Mondrian Composition II in Red, Blue, and Yellow.jpg should not be here). So I think definitely they all should be evaluated; but that shouldn't be too much work once we get the criteria straight... But then, as stated above, there is the difference between date of production and date of release to the public (which we often don't know)... L.tak (talk) 00:15, 6 January 2015 (UTC)

And "release to the public" is called publication in U.S. copyright law, and is, especially for pre-1978 works, a very complicated concept. "Publication" in this context is a technical term with a highly specialized and sometimes confusing meaning. I do wonder what the Trust bases its copyright calculations on. (I.e., which year do they take as the starting year of the 95-year term?) Lupo 07:05, 6 January 2015 (UTC)

I knew I had been through this before... my 2011 comments on a similar case regarding the paintings of Paul Klee. I still don't know how to reliably determine when a painting is "published". Lupo 07:16, 6 January 2015 (UTC)

Regarding why the NIE list might contain 'ineligible' works, the law did not mandate that 'acceptance of a notice by the Copyright Office' would create any presumption that the statements in it were correct, and I happen to be looking at where the Copyright Office basically asked filers to please include 'important but not required' information as the type of work, name of the author, source country, and year of publication. Given that, it seems quite like that at least some filings were 'blanket' listings of anything that 'might' be eligible. Revent (talk) 02:43, 6 January 2015 (UTC)

As a 'random' example I just looked at, the third one down, "Along the Amstel", was apparently painted in 1903 (and amusingly, Walmart sells prints of it on their website). Revent (talk) 02:59, 6 January 2015 (UTC)

One problem I have with all this is identifying a painting only by a title. For instance, I cannot find any "Along the Amstel" in this book, which contains a catalogue of Mondriaan's works, with images and dates. (The book itself is from 1956.) Lupo 06:24, 6 January 2015 (UTC)

This is apparently "Along the Amstel" (the same image is sold as prints a number of places, including Walmart like I mentioned) and you are right that it's not shown in that book, even under another name (looking at the photos, it's simply not there). One resource that might be useful is the "Nazi-Era Provenance Internet Portal" (http://www.nepip.org/), it has a listing of about 60 of Mondrian's paintings held in various US museums, and some (MoMA for example) have online pages detailing the known provenance with images. As I understand things, any sale at a public auction constitutes 'publication'. http://www.the-athenaeum.org/ (which seems to suffer from intermittent hosting issues) also has images of about 50 works, as well as http://www.wikiart.org/en/piet-mondrian (whose images seem to mostly be from the 'Atheneum' website, but with better web hosting). I don't think either of those could be considered a 'reliable source' for anything but verifying the connection between a title and an image, though. Revent (talk) 22:33, 6 January 2015 (UTC)

Other option?

I was reading the Dutch newspapers on the issue. In this Trouw article the following is mentioned: "Wij [gemeentemuseum] hebben kortgeleden contact gehad met de erven. De familie was er helder over: 'de rechten komen vrij. Laten we gaan samenwerken om het werk van Mondriaan recht te doen'.". Here the Gemeentemuseum Den Haag states that the family of Mondriaan said "the rights become free" (of course this could only be part of the family). I was wondering whether the Trust holds the rights or whether the family could revoke those rights (independent of the trust). Probably that question is more a hypothetical than a practical one. Mvg, Basvb (talk) 12:01, 6 January 2015 (UTC)

extended copyrights according to Holtzman (Elizabeth McManus) Irrevocable Trust

Holtzman (Elizabeth McManus) Irrevocable Trust has requested extended copyrights (Federal Register: August 30, 1996 (Volume 61, Number 170)) for:

• Abstract composition.
• Along the Amstel (trees along the Gein; Geinrust farmhouse).
• Along the Amstel.
• Amaryllis.
• The Amstel (Cafe 't Vissertje on the Amstel).
• The Amstel in the evening.
• The Amstel river, evening impression.
• The Amstel: haze (Geinrust farm in the mist).
• Anemones in a vase.
• Apple tree.
• Arum lily (calla lily).
• At the Lappenbrink, Winterswijk.
• At work.
• Autumn landscape.
• Banks of the Seine.
• Barge (study for the Stadhouderskade).
• Barn (farmhouse).
• Barns at Nistelrode.
• Beach at Domburg.
• Beech forest.
• Birch woods.
• Blue chrysanthemum.
• Blue facade; composition no. 9; (composition no. VI).
• Blue lily.
• Blue rose.
• Blue roses with yellow background.
• Blue tree.
• Boat on a river (landscape with a boat).
• Brabant farmyard.
• Branches [recto] trees [verso] (sketchbook IV, no. 7 a/b).
• Breakwaters at Domburg.
• Bridge on the Achter Canal.
• Bridge on the Achter Canal: (seen from the Kostverlorenvaart).
• The Broek house on the Amstelveenseweg.
• Bull.
• Calla lilies.
• Calla lily.
• Calves in a field bordered by willow trees.
• Canal in the Schinkel area of Amsterdam.
• Canal in the Schinkel area, Amsterdam (the Long Bleekers Channel, seen from the Kostverlo.
• Canal scene.
• Castle ruin: Brederode.
• Cat's tail on dark ground (cattail on dark ground). Cattail (cat'stail).
• Cattail.
• Chrysanthemum (dying chrysanthemum).
• Chrysanthemum.
• Chrysanthemums.
• Church apse (church seen from the rear).
• Church at Domburg (church facade I).
• Church at Domburg (sketchbook I).
• Church at Domburg (steeple of the church in Domburg).
• Church at Domburg.
• Church at Winterswijk.
• Church at Zoutelande.
• Church facade (sketchbook III, no. 9).
• Church facade 2 (church facade).
• Church facade 6.
• Church facade of Notre Dame des Champs (sketchbook III, no. 10).
• Church facade.
• Church in Domburg.
• Church in Zeeland.
• Circular composition: church facade.
• Color study.
• Composition (composition I).
• Composition (composition with blue, red, yellow, and black).
• Composition (composition with red, blue, yellow, and black).
• Composition (composition with blue and red).
• Composition 1-A (composition no. 1; lozenge composition with four black
• lines).
• Composition 1916.
• Composition 2 (tableau 2; Composition with yellow, black, blue, red, and gray).
• Composition 2 with red and blue.
• Composition A; (composition A; composition with red and blue).
• Composition B with grey and yellow (composition B; composition with double line and yellow and gray).
• Composition B with red.
• Composition blue-white.
• Composition C (composition A; composition with red and blue).
• Composition gray-red.
• Composition I (composition no. I; composition with yellow).
• Composition I with black lines.
• Composition I with blue and yellow (tableau no. 1; lozenge composition
• with three lines and blue, gray, and yellow).
• Composition I with red, yellow, and blue (tableau I: composition with red, black, blue, and yellow).
• Composition I with red, yellow, and blue.
• Composition II with black lines (composition in white and black II).
• Composition II with red, blue, and yellow.
• Composition II with yellow and blue.
• Composition II with yellow and blue (composition no. II; composition with blue and yellow).
• Composition III (composition with red, blue, yellow, and black).
• Composition III with red, yellow, and blue.
• Composition in a square (composition with blue, yellow, black, and red).
• Composition in a square.
• Composition in black and white.
• Composition in blue and yellow.
• Composition in color B.
• Composition in gray, blue, yellow, and red.
• Composition in gray-blue.
• Composition in grey and ochre-brown.
• Composition in grey and ochre.
• Composition in grey and yellow.
• Composition in grey, blue, yellow, and red.
• Composition in grey.
• Composition in line and color (tableau no. 1).
• Composition in line [first state-photograph].
• Composition in line [second state] (composition in black and white).
• Composition in oval (tableau no. 3).
• Composition in oval with color planes 1.
• Composition in oval with color planes II.
• Composition in red and white.
• Composition in white and black (tableau I; lozenge composition with four lines and gray).
• Composition in white, black, and red.
• Composition in white, black, red, and blue.
• Composition in white, red, and yellow.
• Composition in yellow, blue, and white.
• Composition no. 14.
• Composition no. 3 (composition with color planes).
• Composition no. 3 (trees) (tableau no. 4; composition no. VIII).
• Composition no. 7.
• Composition no. 8.
• Composition no. I (trees).
• Composition no. I; composition with black, yellow, and blue.
• Composition no. I; composition with red.
• Composition no. II (composition with blue and red).
• Composition no. II; composition in line and color.
• Composition no. VI (composition no. II: composition with black, blue, red, yellow, and gray).
• Composition with black and blue (Schilderij no. 1; lozenge composition with two lines and blue).
• Composition with black lines.
• Composition with black, white, yellow (composition with yellow square).
• Composition with blue (composition of lines and color, III; composition with blue).
• Composition with blue and red.
• Composition with blue and yellow.
• Composition with blue and yellow (composition with yellow, blue, and double line).
• Composition with blue, black, yellow, and red.
• Composition with blue, red, and yellow (painting no. 11).
• Composition with blue, yellow, and white.
• Composition with blue.
• Composition with color planes 2.
• Composition with color planes 5.
• Composition with color planes and gray lines 1.
• Composition with color planes and gray lines (composition with planes in gray and ochre).
• Composition with color planes and gray lines.
• Composition with color planes.
• Composition with color planes: lozenge (composition with grid 7).
• Composition with colors A.
• Composition with gray and red.
• Composition with gray lines: lozenge (composition with grid 4).
• Composition with grey and black (painting no. 2).
• Composition with grey lines (composition with grid 1: lozenge) (lozenge with grey lines).
• Composition with large blue plane (composition with large blue plane, red, black, yellow, and gray).
• Composition with large red plane, gray-blue, yellow, black, and blue).
• Composition with light colors and gray lines: lozenge (composition with grid 6).
• Composition with pink, blue, yellow, and white (church facade).
• Composition with planes in ochre and gray: lozenge (composition with grid 5).
• Composition with red and black (composition with blue, grey, red, white).
• Composition with red and black (composition with black, red, and gray).
• Composition with red and black (composition no. 1; composition with red and black).
• Composition with red and black.
• Composition with red and blue.
• Composition with red and yellow (opposition of lines, of red and yellow, no. I).
• Composition with red, black, and white (composition no. I; composition with red, blue, and yellow).
• Composition with red, black, blue, yellow, and gray.
• Composition with red, black, yellow, blue, and gray.
• Composition with red, blue, and greenish yellow.
• Composition with red, blue, and yellow (composition II; composition I;
• composition in red, blue, and yellow).
• Composition with red, blue, black, and yellow-green (composition C;
• composition with yellow, red, blue-gray, blue).
• Composition with red, yellow, and blue (composition with yellow, red, black, blue, and gray).
• Composition with red, yellow, and blue (composition with yellow, red, black, red, and gray).
• Composition with red, yellow, and blue (composition with red plane, black, blue, yellow, and gray).
• Composition with red, yellow, and blue (composition with red, blue, black, yellow, and gray).
• Composition with red, yellow, and blue.
• Composition with red, yellow, and blue (composition with red, blue, yellow, black, and gray).
• Composition with red, yellow, and blue (composition with blue, yellow, red, black, and gray).
• Composition with red, yellow, and blue (composition no. III; composition with red, yellow, and blue).
• Composition with red, yellow, and blue (composition C; composition no. III).
• Composition with red, yellow, blue, and black (composition A;
• composition with black, red, gray, yellow and blue).
• Composition with red, yellow, blue, and black.
• Composition with red, yellow, and blue (composition with blue, yellow, red, and black).
• Composition with red.
• Composition with white and red (composition B).
• Composition with white, grey, yellow, and blue (composition with yellow, blue and blue-white).
• Composition with white, red, and yellow.
• Composition with yellow (lozenge composition with four yellow lines).
• Composition with yellow and blue (composition no. II; composition with yellow and blue).
• Composition with yellow and blue.
• Composition with yellow and double line.
• Composition with yellow and red.
• Composition with yellow, red, and blue.
• Composition with yellow, red, and blue (tableau VII). Composition with yellow.
• Composition [photograph].
• Composition [recto and verso].
• Composition [study].
• Composition.
• Composition: checkerboard with dark colors (composition with grid 8).
• Composition: checkerboard with light colors (composition with grid 9).
• Composition: trees I.
• Composition: trees II.
• Cow in the meadow (cow).
• Cow in the meadow.
• Cows (study of cows).
• Cows in a shed.
• Cows in the meadow.
• The departure of the fishing fleet; Zuiderzee (the Stadhouderskade near
• the Bewaring house).
• Devotion.
• Diamond composition and two rectangles.
• Diamond composition.
• Diamond compositions.
• Ditch near the Kalfje (tree on the Kalfje).
• Dredge (the Amstel at twilight).
• Dredge on the Amstel near the Omval.
• Dredge [recto] (on the Amstel near the Omval) Haystack [verso].
• Drydock at Durgerdam.
• Duivendrecht (farmhouse on the Gein).
• Duivendrecht.
• Dune.
• Dune (variation).
• Dune I.
• Dune II.
• Dune III.
• Dune IV.
• Dune V.
• Dune VI (summer, dune in Zeeland).
• Dunes.
• Dunes and sea (sketchbook III, no. 2).
• Dunes and sea (sketchbook III, no. 3).
• Dunes and sea (sketchbook III, no. 1).
• Dunes and sea (sketchbook III, no. 5).
• Dunes and sea (sketchbook III, no. 4a/b).
• Dunes and sea (sketchbook III, no. 11).
• Dunes and sea (sketchbook III, no. 13).
• Dunes and sea (sketchbook III, no. 14).
• Dunes and sea.
• Dunes at Domburg.
• Dusk.
• Dutch village (village view: landscape with mill * * * near the Kostverlorenvaart).
• Dying chrysanthemum.
• Empty barges and sheds.
• Empty barges.
• End of day.
• Eucalyptus tree in gray and tan.
• Eucalyptus tree.
• Eucalyptus trees.
• Evening on the Gein (evening on the Gein with isolated tree).
• Evening on the Weesperside.
• Evening sky.
• Evolution (triptych).
• Facade (sketchbook VI, no. 2).
• Facade in tan and gray (composition no. XII).
• Facade in tan and gray.
• Farm at Duivendrecht.
• Farm at Nistelrode (recto and verso).
• Farm at Nistelrode.
• Farm behind willows.
• Farm in the evening.
• Farm near Duivendrecht.
• Farm on a canal among the trees.
• Farm on a canal.
• Farm with cattle.
• Farm with trees and water (farm behind trees and water).
• Farm with trees.
• Farmhouse.
• Farmhouse at Duivendrecht.
• Farmhouse at evening.
• Farmhouse (barn).
• Farmhouse on the Gein.
• Farmhouse sheltered by trees.
• Farmhouse with clothesline.
• Farmhouse with peasant woman in the snow: Winterswijk.
• Farmhouse with peasant.
• Farmstead.
• Farmyard.
• Farmyard at Blaricum.
• Farmyard in the moonlight.
• Farmyard with cattle and willows.
• Farmyard with peasant.
• Female portrait.
• Field bordered by trees.
• Fields with cows.
• Flowering apple tree.
• Flowering trees.
• Flowers.
• Forest.
• Fox trot A (composition IV; lozenge composition with three black lines).
• Fox trot B.
• The French mill on the River Gein.
• Gein farmhouse behind trees.
• The Gein near the Geinrust farmhouse.
• The Gein: trees near the water.
• Geinrust farm.
• Geinrust farm in the mist.
• Geinrust farm in watery landscape.
• Geinrust farm with high horizon.
• Geinrust farm: close view.
• Girl peeling apples.
• Girl writing.
• Gladioli.
• Gnarled willow beside a ditch.
• Golden lily.
• Grain barn interior.
• Gray tree.
• Hay sheaves in a field.
• Hayrick.
• Haystack.
• Haystacks I.
• Haystacks II.
• Haystacks III.
• House at Abcoude.
• House on the Gein.
• House on the River Gein.
• Houses on the canal.
• Houses with poplars.
• Interior.
• Interior at Nistelrode.
• Interior of a stable.
• Interior: kitchen.
• Irises.
• Irrigation ditch near the Kalfje.
• Irrigation ditch near the Kalfje (recto no. 85).
• Irrigation ditch overhung with trees.
• Isolated farm.
• Landscape.
• Landscape (riverscape).
• Landscape (warmte).
• Landscape along the Gein.
• Landscape at evening.
• Landscape by moonlight.
• Landscape near Amsterdam.
• Landscape near Oele.
• Landscape near the Kalfje Cafe (tree on the Kalfje).
• Landscape of a river scene.
• Landscape with a ditch.
• Landscape with boat.
• Landscape with bridge and farmer.
• Landscape with cloudy sky.
• Landscape with cows and stream.
• Landscape with cows.
• Landscape with dunes.
• Landscape with farmhouse.
• Landscape with Hayrick.
• Landscape with houses and canal.
• Landscape with houses.
• Landscape with mill near Abcoude.
• Landscape with orchard and guinea fowl.
• Landscape with stream at evening.
• Landscape with stream.
• Landscape with trees along water.
• Landscape with trees and water.
• Landscape with trees.
• Landscape: field and sky.
• The Lappenbrink.
• The Lappenbrink (farmyard at Lappenbrink).
• The Lappenbrink with farmer's wife.
• Large composition with red, blue and yellow.
• Large landscape (riverscape with pink and yellow-green sky).
• Lighthouse at Westkapelle.
• Lighthouse in Westkapelle.
• Lily.
• The Long Bleekers Channel seen from the Wester Church.
• Lotus (verso no. 84).
• Lozenge (lozenge composition with red, black, blue and yellow).
• Lozenge composition with two black lines.
• Lozenge composition with yellow, black, blue, red and gray.
• Lozenge with red, yellow and blue (tableau no. IV; lozenge composition with red, gray, blue, yellow, and black).
• Male nude.
• Mauve chrysanthemum.
• Mill at Blaricum in the moonlight.
• Mill at Domburg.
• Mill by the river (the French mill).
• Mill by the water.
• Mill in moonlight (mill on the Winkel near Abcoude).
• Mill in moonlight (sketch) (French mill on the Gein). Mill in moonlight.
• Mill in sunlight (mill on the Winkel near Abcoude).
• Mill in sunlight (Molen [Mill]).
• Mill in the evening.
• Mill on the Gein (the French mill on the Gein).
• Mill on the Gein.
• The mill.
• Mill.
• Moored barges.
• Moored steamboat on the Weesperside.
• Moored tugboat on the Amstel.
• Notebook page.
• Nude.
• Ocean.
• Ocean 1 (the sea).
• Ocean 3.
• Ocean 4.
• Ocean 5.
• The old watermill at Oele with moon.
• On the Amstel: the Omval at evening.
• On the dunes (reclining nude).
• On the land (landscape with boat).
• On the shore.
• Oval composition.
• Oval composition (painting III).
• Oval composition (scaffold).
• Paris buildings (sketchbook VI, no. 1).
• Paris courtyard facades (sketchbook VII).
• Paris facade (sketchbook III, no. 12).
• Partially demolished building in Paris (sketchbook II).
• Partially demolished building in Paris (blue facade) (sketchbook II, no. 43).
• Partially demolished building (horizontal pier) (sketchbook II, no. 46).
• Passion flower.
• Pasture with five cows.
• Picture no. 111; lozenge composition with eight lines and red (red corner).
• Pier and ocean.
• Pier and ocean (composition 10 in black and white).
• Pier and ocean (sketchbook I, no. 57).
• Pier and ocean 1.
• Pier and ocean 3.
• Pier and ocean 4 (sea; starry sky above the sea).
• Pier and ocean 5 (sea and starry sky).
• Pier at Scheveningen.
• Polder-landscape.
• Pollard willows.
• Pond near Saasveld.
• Portrait of a girl with flowers.
• Portrait of a girl.
• Portrait of a lady.
• Portrait of a praying girl.
• Portrait of a woman.
• Portrait of a young girl.
• Portrait of a Zeeland girl.
• Portrait of Agatha Zethraeus.
• Portrait of Aunt J.M. Mondriaan-Desiree.
• Portrait of D.J. Hulshoff.
• Portrait of Nephew Frits.
• Portrait of Niece Johanna Mondriaan.
• Portrait of old man.
• Portrait of Princess Wilhelmina.
• Portrait of Uncle Frits.
• Puppy.
• Red amaryllis with blue.
• Red cloud.
• Red dahlia.
• Red gladioli.
• Red mill (red mill at Domburg).
• Red tree (evening; red tree).
• Rhododendron.
• Rhododendrons.
• The River Gein.
• River scene with trees and windmill.
• Roofs in Paris (sketchbook VIII, no. 1).
• Roofs in Paris (sketchbook VIII, no. 2).
• Rose.
• Rose (sketchbook III, no. 6).
• The Royal Wax Candle Factory (on the Boerenwetering).
• Rustic house (cottage).
• Saint Jacob's church at Winterswijk.
• Salon de Mme B * * * a Dresden (for Mrs. Ida Bienert).
• Scaffolding.
• Schinkelbuurt (factory building and hay near the Schinkel).
• The sea (sketchbook I).
• Sea after sunset.
• Sea towards sunset.
• The sea.
• Seascape.
• Seascape (sea-view I).
• Seated girl.
• Self portrait.
• Self portrait [recto] nude [verso].
• Self portrait: eyes.
• Set design for Michel Seuphor play, ``L'Ephemere est l'Eternel.
• Sheds on the water (Schinkelbuurt).
• Sheepfold.
• Sheepfold in the evening.
• Ships in the moonlight.
• Shipworks.
• Side facade.
• Side view of a house in Winterswijk.
• The singel.
• Sketch for landscape near Oele.
• Solitary tree.
• Spring.
• Spring idyll.
• The Stadhouderskade near the Bewaring house.
• Stalk with two Japanese lilies.
• Still life with apples and plate.
• Still life with dead hare.
• Still life with gingerpot I.
• Still life with gingerpot II.
• Still life with herrings.
• Still life with jug and onions.
• Still life with Moonwort.
• Still life with plaster bust.
• Study for ``summernight.
• Study for composition.
• Study for gray tree.
• Study for gray tree (sketchbook III, no. 7).
• Study for gray tree (sketchbook III, no. 8).
• Study for tableau I.
• Study of a chrysanthemum.
• Study of a figure.
• Study of a rose.
• Study of trees.
• Study of trees I.
• Study of trees II.
• Summer night (landscape in moonlight).
• Summer night: oil sketch.
• Sunflower.
• Sunflower I.
• Sunflower II.
• Sunflowers.
• Tableau I [with indications for yellow/blue/gray]. Tableau I.
• Tableau I: composition with black, red, gray, yellow and blue.
• Tableau II.
• Tableau II; composition with red, black, yellow, blue and light blue.
• Tableau no. 2; composition no. VII.
• Tableau no. 2; composition no. V.
• Tableau no. I; composition no. 1; compositie 7.
• Tableau no. III; Composition no. 14; Composition with red, black,
• yellow, blue and gray.
• ``Tableau-Poeme [text: Seuphor].
• Tall trees along the river (The Gein near the Oostgein farmhouse).
• Tall trees along the River; (the Gein near the Oostgein farmhouse).
• Three cattails.
• Three compositions.
• Three cows.
• Three haystacks.
• Three rectangle compositions [study].
• Three willow-herbs (sketchbook VI, no. 3).
• Tiger lily.
• Tiger-lilies.
• Trafalgar Square [study].
• Trafalgar Square.
• Tree.
• Tree (recto and verso) (sketchbook III, no. 15a/b).
• Tree (recto and verso) (sketchbook IV, no. 3a/b).
• Tree (study) (sketchbook IV, no. 4).
• Tree (study) (sketchbook V).
• The tree A.
• Tree I.
• Tree II.
• Tree on the Kalfje.
• Trees.
• Trees (sketchbook IV, no. 1 [recto]).
• Trees (sketchbook IV, no. 2 [verso]).
• Trees (study) (sketchbook IV, no. 5).
• Trees along the Gein (Weidenbaume).
• Trees along the Gein.
• Trees along the Gein; (the Geinrust farmhouse).
• Trees along the Gein; Geinrust farmhouse with saplings and cows.
• Trees along the river.
• Trees bordering a river.
• Trees by the River Gein.
• Trees I.
• Trees near the water.
• Trees on the Gein (farmhouse under trees).
• Trees on the Gein.
• Trees on the Gein: moonrise.
• Trees on the water.
• Trees reflected in the River Gein.
• Trees under blue sky.
• Trees with cornfield.
• Trees [recto] branches [verso] (sketchbook IV, no. 6 a/b).
• Two haystacks.
• Two lozenge compositions [study].
• Two marigolds.
• Two women in the woods.
• Untitled (oval composition).
• Untitled [verso no. 610].
• Upright sunflower.
• Vertical composition with blue and white.
• View of Winterswijk.
• Village.
• Village church; Jacobskerk.
• Vinken Bridge at Diemen.
• ``Vrachtboot on the Amstel.
• Weaver's house in Winterswijk.
• The weaver's house, Winterswijk.
• The Weltevreden farmhouse at Duivendrecht.
• The white calf.
• White rose in a tumbler.
• White roses.
• Willow tree.
• Willow trees on the Gein.
• Willow trees.
• Windmill.
• Windmill and trees.
• Windmill at evening.
• Windmill by the water.
• Windmill in the evening.
• Windmill near Saasveld.
• Windmill on the Gein (the French Mill on the Gein).
• Windmill on the water.
• Winter landscape.
• Winter landscape with farmhouse.
• Woman (composition no. 11).
• Woman in profile with young boy.
• Women washing clothes.
• Women with child in front of a farmhouse.
• The wooden bridge.
• Woods at Oele.
• Woods at sunset.
• Woods near Oele.
• Woods with stream.
• Yellow marigold.
• Zeeland farmer.