Composition (No. 1) Gray-Red

Hartford, Abstract Art, 1935, no. 12 Chicago, Abstract Art, 1936, no II. Chicago, Arts Club, Loan Exhibition of Modern Paintings and Drawings from Private Collections in Chicago, November 4–25, 1938. Milwaukee, Art Institute, Industrial Designs by Brooks Stevens, February–May, 1950. Chicago, Art Institute, Mondrian The Process Works, October 3–November 8, 1970. New York, Solomon R. Guggenheim Museum, Mondrian Retrospective, October 7–December 12, 1971. Chicago, Museum of Contemporary Art, Post-Mondrian Abstraction in America, March 31–May 13, 1973. The Hague, Haags Gemeentemuseum, Piet Mondrian, 1872–1944, December 18–April 20, 1995; traveled to Washington D.C., National Gallery of Art, June 11–September 4, 1995; New York, Museum of Modern Art, October 1–January 23, 1996. Washington D.C., National Gallery of Art, The Double: Identity and Difference in Art Since 1900, July 10–Oct. 31, 2022, cat. cat. 19. Fort Worth, Kimbell Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct. 6, 2013–Feb. 16, 2014, no cat. no.

A. E. Gallatin Collection (1954), p. 154 (ill.). Morisani, Mondrian (1956), p. 68 (ill.). The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961) p. 317. Ragghianti, Mondrian (1962), pp. 369, 754 (ill.). Apollonio, Mondrian (1965), pl. XIV. Dunlop, Mondrian (1967), pl. XIV Busignani, Mondrian (1968), pl. 68 Elgar, Mondrian (1968), pp. 13, 152 (ill.). Butor, “Notes autour de Mondrian,” (1976), p. 7. Welsh, “The Place of Composition 12,” (1978), pp. 25 (ill.), 26–27. Weyergraf, Mondrian und Van Doesburg (1979), p. 33. Meuris, Mondrian (1991), pp. 185, 248 (ill.). John Milner, Mondrian (New York: Abberville Press, 1992), no. 155, p. 196 (ill.). A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (Chicago, 1980), no. 3A7, p. 58. Joop M. Joostens, Catalogue Raisonné of the Work of Piet Mondrian: 1911–1944, v. 2 (New York: Harry. Abramus, 1998), no. B 255, pp. 377 (ill.) p. 378. James Meyer, with W. J. T. Mitchell, Andrew Solomon, Julie Bryan-Wilson, Shawn Michelle Smith, Tom Gunning, and Hillel Schwartz, The Double: Identity and Difference in Art Since 1900, exh. cat. (Washington D.C.: National Gallery of Art, 2022), 28, 76, cat. 19 (color ill.).