“I just adore a penthouse view.” (And say…that Mondrian is pretty swell, too.)

Green Acres' Ava Gabor with Mondrian painting
Green Acres' Ava Gabor with Mondrian painting

As a kid in middle school, Green Acres was one of my favorite sitcoms. We watched it as a family. The opening theme song was clever—as Lisa extolled the joys of penthouse life in the big city, a painting over her shoulder caught my eye. I didn’t know who the artist was, but I liked the painting. I asked my art teacher about it and got quite a lesson in 20th-century modern art and Mondrian’s utopian approach to creating abstract works.

I was reminded of Green Acres and my fascination with Lisa’s painting when I received a note from Sotheby’s about Mondrian’s Composition No. II coming to auction for the first time in nearly 40 years.

Mondrian Composition No. II

Writing for Sotheby’s, Will Fenstermaker says, “A cornerstone of modern art and one of the earliest innovators of European abstraction, Mondrian refined his mature style in Paris during the 1920s and early 1930s. Well known in international art circles at the time, the Dutch painter counted Peggy Guggenheim and Alfred Barr among his patrons, and artists such as Hilla Rebay and Marcel Duchamp made frequent visits to his immaculate studio. Alexander Calder visited in 1930, the year Composition No. II was produced, and later recalled: ‘I was very much moved by Mondrian’s studio, large, beautiful and irregular in shape as it was, with the walls painted white and divided by black lines and rectangles of bright color, like his paintings.”

Composition No. II is expected to command more than $50 million USD at Sotheby’s November auction.


I remember telling my mother, while we were watching Green Acres, how much I liked Lisa Douglas’ painting. Mom said, in a slightly dismissive tone, “Oh honey, you could paint one exactly like that.”

I started to respond but thought better of it . . .

Auction details from Sotheby’s.

By Stephen Brockelman

As a Sr. Writer at T. Rowe Price, I work with a group of the best copywriters around. We belong to the broader creative team within Enterprise Creative, a part of Corporate Marketing Services. _____________________________________________ A long and winding road: My path to T. Rowe Price was more twisted than Fidelity’s green line. With scholarship in hand, I left Kansas at 18 to study theatre in New York. When my soap opera paychecks stopped coming from CBS and started coming from the show’s sponsor, Proctor & Gamble, I discovered the power of advertising and switched careers. Over the years I’ve owned an ad agency in San Francisco; worked for Norman Lear on All in the Family, Good Times, Sanford and Son, and the rest of his hit shows; and as a member of Directors Guild of America, I directed Desi Arnaz in his last television appearance— we remained friends until his death. In 1988 I began freelancing full time didn’t look back. In January 2012 my rep at Boss Group called and said, “I know you don’t want to commute and writing for the financial industry isn’t high on your wish list, but I have a gig with T. Rowe Price in Owings Mills…” I was a contractor for eight months, drank the corporate Kool-Aid, became a TRP associate that August, and today I find myself smiling more often than not.

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