BODY EXTENDED

October 30th through December 7th 2019

SHEPHERD W&K GALLERIES

58 East 79th Street New York, N. Y. 10075 Tel: 1 212 861 4050 Fax: 1 212 772 1314 [email protected] www.shepherdgallery.com

1 GÜNTER BRUS * 1938 Ardning in der Steiermark

ACTION DRAWING , 1966 Indian ink on paper, 297 x 210 mm (11.7 x 8.3 inch) signed and dated on lower right

Provenance Private collection, Vienna.

Exhibition - Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany, Vienna 25.09.- 22.11.2019.

Literature - Wienerroither/Kohlbacher/Grabner, Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany (ed.), Vienna 2019, p. 84 (ill.)

2 GÜNTER BRUS * 1938 Ardning in der Steiermark

DAS WILD REMINISZENZ (THE GAME REMINISCENCE) , 1975 Pencil and colored pencil on paper, 297 x 210 mm (11.7 x 8.3 inch) titled, signed and dated

Provenance Collection of H.R. Giger, Switzerland; Galerie Kunst & Handel, Graz; Private collection, Austria.

Exhibition - Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany, Vienna 25.09.- 22.11.2019.

Literature - Wienerroither/Kohlbacher/Grabner, Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany (ed.), Vienna 2019, p. 109 (ill.).

3 GÜNTER BRUS * 1938 Ardning in der Steiermark

DIE ELEFANTENDUSCHE (THE ELEPHANT SHOWER) , 25.4.1975/6 Coloured crayon on paper, 275 x 210 mm (10.8 x 8.3 inch) signed and dated on upper right

Provenance Institutional collection, Vienna.

Exhibition - Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany, Vienna 25.09.- 22.11.2019.

Literature - Wienerroither/Kohlbacher/Grabner, Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany (ed.), Vienna 2019, p. 107 (ill.).

4 GÜNTER BRUS * 1938 Ardning in der Steiermark

MENSCHENREISSVERSCHLUSS, STATISTISCH (HUMAN ZIPPER, STATISTICAL) , 1998 Pencil, colored pencil and collage on paper, 390 x 300 mm (15.4 x 11.8 inch) Inscribed, signed and dated: Menschenreissverschluss, Statistisch G Brus 98

Interpretation Brus’ striking drawings are marked by creations in form, which often emerge from syntheses between body and machine, humans and animals, or extremities and objects. He continually expands the drawing repertoire and alphabet of bodies available to him, in order to depict his half-conceived, half-intuited images. Roman Grabner

Provenance Private collection, Vienna.

Exhibition - Günter Brus. The Loneliness of the Late Classical Artist, W&K - Palais Schönborn-Batthyany, Vienna 25.09.- 22.11.2019.

Literature - Wienerroither/Kohlbacher/Grabner,GUnter Brus. The Loneliness ofthe Late Classical Artist, W&K- Palais Schi:inborn-Batthyany (ed.), Vienna 2019,p. 173 (ill.).

KUNSTHANDEL WIENERROITHER & KOHLBACHER GMBH Strauchgasse 2 · 1010 Wien ·Austria· T +43-1-533 99 77 · [email protected] · www.w-k.art · UID Nr.: ATU 56185504 · FN 227042K HG Wien

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5 FUCHS, Ernst 1930 – 2015 Austrian School

THE TEMPTATION OF ST. ANTHONY, 1949

Egg tempera and oil mixed with resin. 29 1/2” x 42 1/8” (75 x 107 cm). Signed and dated lower left: Fuchs Ernst/49.

Provenance: From the artist to Manfred Mautner-Markhof; Private collection, Vienna.

Note: The Vienna School of Fantastic Realism formed in 1946 included Ernst Fuchs, Rudolph Hausner, Wolfgang Hutter, and Fritz Janschka. Arik Brauer and Anton Lemden were all visionaries, born of the jagged ruins of post-war Vienna. The group saw itself as Surrealist although they were already moving away from the Surrealist painting of the 1930s towards a more visionary approach. Technically their work had the clarity and detail of early Flemish painting. The present painting, The Temptation of St. Anthony, is dated 1949. Already baptized during the war, Fuchs converted to Roman Catholicism in 1956.

Between 1950 and 1961, Fuchs lived mostly in Paris, and made a number of journeys to the United States and Israel. His favorite reading material at the time was the sermons of Meister Eckhart. He also studied the symbolism of the alchemists and read Jung’s Psychology and Alchemy. In 1958, he founded the Galerie Fuchs-Fischoff in Vienna to promote and support the younger painters of the Fantastic Realism school. Together with Friedensreich Hundertwasser and Arnulf Rainer, he founded the Pintorarium.

6 GEORGE GROSZ 1893 - Berlin - 1959

LADY HAMILTON , c. 1930 Indian ink on paper, 560 x 440 mm (22 x 17.3 inch) Signed (lower right): Grosz

Provenance Private collection, Austria.

Exhibition - Aging Pride, Lower Belvedere, Vienna 17.11.2017-11.03.2018.

Literature - Rolling/Fellner (edt.), Die Kraft des Alters/Aging Pride, exh. cat., Lower Belvedere, Vienna, 2017, ill. p. 17.

7 XENIA HAUSNER * 1951 Vienna

INFORMAL ARRANGEMENT , 2017 Oil on paper on sandwich panel, 78 x 114 cm (30.7 x 44.9 inch)

Provenance Studio of the Artist, Vienna.

8 GUSTAV KLIMT 1862 - Vienna - 1918

SEATED SEMI-NUDE WOMAN , c. 1907 Blue crayon with few red strokes on paper, 56 x 37.2 cm (22 x 14.6 inch) stamped Gustav Klimt and with the Nachlass mark (lower right) Strobl Cat. rais. no. 1628

Provenance Former collection of Rudolf Staechelin, Basel, no. 248; Galerie Würthle, Vienna; Private collection, Graz; Private collection (Acquired from the above).

Exhibition - Galerie Würthle, Vienna 1978.

Literature

- Galerie WUrthle, Vienna 1978, no. 23. -Alice Strobl,Gustav Klimt,Die Zeichnungen 1912-1918,Salzburg,1984, val. II, no. 1628, illustrated p. 129

KUNSTHANDEL WIENERROITHER & KOHLBACHER GMBH Strauchgasse 2 · 1010 Wien · Austria · T +43- 1-533 99 77 · [email protected] · www.w-k.art · UID Nr.: ATU 56185504 · FN 227042K HG Wien

23.10.2019 · Seite 11

9 GUSTAV KLIMT 1862 - Vienna - 1918

SEATED NUDE WOMAN ON A DAYBED, 1908/09 pencil on paper, 56.5 x 37.2 cm (22.2 x 14.6 inch) Estate stamp on lower left

In December 2018 Dr. Marian Bisanz-Prakken examined this drawing in the original and confirmed that it is identical to Strobl no. 1861. Strobl Cat. rais. no. 1861

Provenance Privat collection, Italy (1974); Privat collection, Austria.

Exhibition - Gustav Klimt, Klipstein & Kornfeld, Bern 30.11.1957–4.1.1958.

Literature - Klipstein & Kornfeld, Gustav Klimt, stock catalogue 61, Bern 1957, no. 33. - Novotny-Dobai, Gustav Klimt, Verlag Galerie Welz, Salzburg 1967, p. 357. - Strobl, Gustav Klimt. Die Zeichnungen 1904–1912, vol 2, Salzburg 1982, Cat. rais. no 1861, pp. 208/209 (ill.). – there with different measurements.

23.10.2019 • Seite 14

10 GUSTAV KLIMT 1862 - Vienna - 1918

SEMI-NUDE WOMAN, SEEN FROM THE REAR, c. 1911-12 Pencil on paper, 57.2 x 37.5 cm (22.5 x 14.8 inch) Estate stamp lower right

Strobl Cat. rais. no. 2208

Provenance Private collection, Milan.

Exhibition - Galerie Gebhard, Munich 1971, p. 42 cat. XVII (ill.); - Gustav Klimt e Vienna 1900" Galleria I Portici, Turin 1974, no. 11 (ill.); - Galleria Cernaia, Milan 1974, no. 11 (ill.).

Literature - A. Strobl, Gustav Klimt: Die Zeichnungen, 1912-1918, vol. III, Salzburg 1984, p. 28, Cat. rais. no. 2208, ill. p. 29.

11 GUSTAV KLIMT 1862 - Vienna - 1918

RECLINING SEMI-NUDE WOMAN, 1914/15 Pencil on paper, 356 x 556 mm (14 x 21.9 inch) Gustav Klimt Nachlass (slightly faded)

Strobl Cat. rais. no. 2423

Provenance Private Collection, Vienna.

Literature - Alice Strobl, Gustav Klimt. Die Zeichnungen 1912-1918, vol. III, Verlag Galerie Welz, Salzburg 1984, Cat. rais. no. 2423, ill. p. 75.

12 GUSTAV KLIMT 1862 - Vienna - 1918

SEMI-NUDE WOMAN ON HER BACK WITH KNEES UP, 1917-18 Pencil on Japan paper, 557 x 372 mm (21.9 x 14.6 inch) Strobl Cat. rais. no. 2984

Provenance Private collection, Vienna.

Exhibition - Experiment Weltuntergang, Wien um 1900, Kunsthalle, Hamburg 10.04. - 31.05.1981.

Literature - Hofmann, Experiment Weltuntergang, Wien um 1900, exhibition catalogue Kunsthalle, Hamburg 1981, no. 50 (ill.). - Alice Strobl, Gustav Klimt, Die Zeichnungen 1912-1918, Salzburg 1984, Cat. rais. no. 2984.

13 OSKAR KOKOSCHKA Pöchlarn/Niederösterreich 1886 - 1980 Montreux/Schweiz

SEMI-NUDE ELDERLY WOMAN, SEEN FROM THE REAR, 1907 pencil on browned paper, 450 x 315 mm (17.7 x 12.4 inch) monogrammed on lower right: OK

Weidinger/Strobl Cat. rais. no. 132

Provenance Collection Dr. A. W. von Dietel, Berlin; Collection Wolfgang Gurlitt, Linz/Munich; Private Collection, Germany.

Exhibition - Oskar Kokoschka. Aus seinem Schaffen 1907-1950, Haus der Kunst, Munich 09.-10.1950, no. 94. - Oskar Kokoschka. Aus seinem Schaffen 1907-1950, Schloss Charlottenburg, Berlin 02.-03.1951, no. 49. - Oskar Kokoschka, Neue Galerie der Stadt Linz, Wolfgang-Gurlitt-Museum, Linz 1951, no. 47. - Kokoschka, Wiener Secession, Vienna 15.10.-13.11.1955, no. 53.

- Oskar Kokoschka, Kunsthalle, Bremen 22.04.-03.06.1956, no. Z 16. - Oskar Kokoschka. Aquarelle, Handzeichnungen, Druckgraphik, Haus am Lützowplatz, Berlin 22.09-09.10.1956, no. 10. - Oskar Kokoschka, Haus der Kunst, Munich 14.03.-11.05.1958, no. 174. - Oskar Kokoschka, Künstlerhaus Wien, veranstaltet von der österreichischen Kulturvereinigung, Vienna 19.05.-13.07.1958, no. 184. - Oskar Kokoschka, Palazzo Barberini, Rome 03.12.1959-31.01.1960, no. 18. - Oskar Kokoschka. Aquarelle, Zeichnungen, Druckgraphik aus der Sammlung Wolfgang Gurlitt, Heidelberger Kunstverein, Heidelberg 08.01.-12.20.1961 no. 13.

Literature - Alfred Weidinger/Alice Strobl, Oskar Kokoschka. Die Zeichnungen und Aquarelle. 1897 – 1916, Galerie Welz (edt.), Salzburg 2008, Cat. rais. no. 132, p. 76/77.

14 OSKAR KOKOSCHKA Pöchlarn/Niederösterreich 1886 - 1980 Montreux/Schweiz

YOUNG GIRL IN A BLUE COAT , 1907 Pencil and watercolour on paper, 454 x 316 mm (17.9 x 12.4 inch) Signed with a monogram (lower right)

Weidinger/Strobl Cat. rais. no. 143

Interpretation In 1906, at the age of twenty, Oskar Kokoschka became a student at the Kunstgewerbeschule (School of Applied Arts) in Vienna, where he attended the class taught by Otto Czeschka. From the beginning he focused on life drawing, of both the nude and of the figure in motion. By the summer semester of 1907 he had been granted sole use of a studio. There, as he was later to record (Oskar Kokoschka, Mein Leben, Munich 1971, pp. 50–51; cited here from Eng. trans., My Life, London 1974, p. 19), he “got the children of a circus family, who used to live by modelling in the winter when there was no other work, to play and leap around [so that he could capture in] lightning studies [. . . ] the various movements and twists of the body in action [. . . ]”. It was also in 1907 that the Viennese Galerie Miethke staged an exhibition of work by Paul Gauguin. As demonstrated by the present sheet, the figure’s somewhat exotic air and the clothing loosely and only partially covering the body (both characteristic of Gauguin) were to feature in Kokoschka’s own drawings.

Here, however, the coat or cloak thrown casually over the shoulder is supplied with a number of modish details: its double collar and its manifestly fashionable cut. On account, however, of its planar abstraction and its unified blue colouring, the garment, which here seems detached from the tender contours of the still androgynous girl’s body, gives the image as a whole the look of a collage. In rendering the figure, Kokoschka applies his watercolour very sparingly. The flesh tone itself has many a hint of pink, and the brown used for the hair recurs on the face, the breast and the toes. Through these means, Kokoschka situates the figure firmly within his sheet.

In this watercolour Kokoschka is already striking out in an entirely new expressive direction, which was indeed in keeping with the rapidly evolving socio-political mood of the time. He was now concerned not with the mandatory, universally valid figural stylisation favoured in the still prevalent ideals of beauty, but with his own particular sense of vocation and of inner necessity as a way to assert his artistic autonomy. This deliberate move away from the stiff, naturalistic rendering of the human body that was the norm at this time constituted Kokoschka’s first step towards a truly expressionistic art. It was through such spontaneous studies of figures at rest or in motion that he evolved his own, immensely distinctive drawing style.

This particular work evinces an additional aspect of the shift in style that was to characterise Kokoschka’s later oeuvre. It is detectable in his first attempts at an emphatically angular treatment of the body. The austere charm and almost cultic air of this presentation of the figure anticipates what we find in Kokoschka’s illustrations for his first published literary work, of 1908, Die Träumenden Knaben (The Dreaming Boys), and in the poster showing a youthful female figure, the “cotton picker”, which he designed to advertise that year’s great Viennese group exhibition, the Kunstschau, at which he showed publically for the first time.

(Christa Armann; translated from German by Elizabeth Clegg)

Provenance Collection of Hans Strohofer (1885 –1961), one of Kokoschka’s fellow students at the Kunstgewerbeschule in Vienna; Bequest to Strohofer’s daughter, in 1961; in her possession until 1979; Sale at Hassfurther, Vienna, 26 May 1979, no. 160, catalogue colour plate XIV; Sale at Hassfurther, Vienna, 31 March 1984, no. 68, catalogue colour plate 13; Private collection, Germany (1984).

Exhibition - Österreichische Kunst 1880-1945, Secession, Vienna 08.05. - 31.05.1979. - Centre Georges Pompidou, Kokoschka. Dessins et aquarelles: 1906-1926, Paris 21.01. - 22.03.1987, no. 6 (with coloured image, not exhibited). - Oskar Kokoschka. Das Frühwerk (1897/98-1917). Zeichnungen und Aquarelle, Albertina, Vienna 02.03. - 23.05.1994. - Oskar Kokoschka. Expressionist, Migrant, Europäer. Eine Retrospektive, Kunsthaus Zurich 14.12.2018 - 10.03.2019, Leopold Museum Vienna 06.04. - 08.07.2019.

Literature - Weltkunst, vol. 49, no. 9, Munich 01.05.1979, p. 1173 (ill.). - Werner J. Schweiger, Der junge Kokoschka. Leben und Werk 1904–1914, Vienna and Munich 1983, col. fig. on p. 101. - Alice Strobl/Alfred Weidinger, Oskar Kokoschka. Zeichnungen und Aquarelle aus dem Frühwerk (1897/98- 1917), exh.cat., Albertina, Vienna 1994, pp. 12–13, cat. no. 20. - Alfred Weidinger, Oskar Kokoschka. Träumender Knabe und Enfant Terrible 1897/98 bis 1910. Doctoral dissertation, University of Salzburg, Salzburg 1997, p. 69, fig. 149.

- Heinz Spielmann, Oskar Kokoschka. Leben und Werk, Cologne 2003, fig. on p. 64. - Alfred Weidinger/Alice Strobl, Oskar Kokoschka. Die Zeichnungen und Aquarelle. 1897 – 1916, Galerie Welz (edt.), Salzburg 2008, Cat. rais. no. 143, b/w fig. on p. 84. - Hug/Eipeltauer, Oskar Kokoschka. Expressionist, Migrant, Europäer. Eine Retrospektive, exh. cat., Kunsthaus Zurich/Leopold Museum Vienna, Zürich 2018, fig. cat. 105, p. 57.

15 OSKAR KOKOSCHKA Pöchlarn/Niederösterreich 1886 - 1980 Montreux/Schweiz

RECLINING FEMALE NUDE , c. 1911/12 Charcoal on paper, 317 x 424 mm (12.5 x 16.7 inch) Signed with a monogram in pencil (lower right): OK Verso: customs import stamp

Weidinger/Strobl Cat. rais. no. 477

Interpretation What upset the public about Expressionist art was, perhaps, not so much the fact that nature had been distorted as that the result led away from beauty. That the caricaturist may show up the ugliness of man was granted – it was his job. But that men who claimed to be serious artists should forget that, if they must change the appearance of things, they should idealize them, rather than make them ugly, was strongly resented.

- Ernst Gombrich

Provenance

Private Collection.

Literature - Alfred Weidinger/Alice Strobl, Oskar Kokoschka. Die Zeichnungen und Aquarelle. 1897 – 1916, Galerie Welz (edt.), Salzburg 2008, ill. p. 331, Cat. rais. no. 477.

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16 ELKE SILVIA KRYSTUFEK * 1970 Vienna

EDIE AND ANDY , 1994 Acrylic on fabric, 45 x 45 cm (17.7 x 17.7 inch)

Provenance Artist's studio, Vienna.

17 ELKE SILVIA KRYSTUFEK * 1970 Vienna

EDIE HERE YOU ARE AGAIN , 1995 Black chalk on paper, 60.3 x 45.4 cm (23.7 x 17.9 inch)

Interpretation Edie Sedgwick, It-Girl and supermodel of the 1960s, was one of the members of Andy Warhol's "Factory". She became a drug addict and died at the age of 28 in California. In her drawings, Elke Silvia Krystufek quotes the feeling of the lost woman who was celebrated and stylized by the public, but at the same time was a victim of the media and became an object of contemplation in her female identity.

Provenance Artist's studio, Vienna.

18 ELKE SILVIA KRYSTUFEK * 1970 Vienna

MY HANDS ARE BLACK , 1995 Black chalk on paper, 60.3 x 45.4 cm (23.7 x 17.9 inch)

Interpretation Krystufek not only writes literary texts and books, but also complements her paintings, drawings and collages with disturbing, ironic or ambiguous texts. Her self-representations revolve around familiar or socially standardized ideas as well as her own and others' perception of identity and its socially determined fixation. With her works, she analyzes the area between the private, the individual, and the public sphere.

Provenance Artist's studio, Vienna.

19 ELKE SILVIA KRYSTUFEK * 1970 Vienna

CHELSEA LIGHT , 1998 C-print, 50 x 70 cm (19.7 x 27.6 inch)

Provenance Artist's studio, Vienna.

20 ELKE SILVIA KRYSTUFEK * 1970 Vienna

PARANOID ANDROID , 1998 Acrylic on fabric, 70 x 50 cm (27.6 x 19.7 inch)

Provenance Artist's studio, Vienna.

21 ELKE SILVIA KRYSTUFEK * 1970 Vienna

BUT FRIENDSHIP BETWEEN MEN AND WOMEN DOES NOT EXIST , 1999 Acrylic on fabric, 80 x 60 cm (31.5 x 23.6 inch)

Provenance Artist's studio, Vienna.

22 LANG, Erwin 1886 – 1962 Austrian School

PORTRAIT STUDIES OF GRETE WIESENTHAL, circa 1910

Graphite on cream, medium weight, wove paper, no watermark. 17” x 11 1/2” (43.2 x 29.2 cm).

23 LANG, Erwin 1886 – 1962 Austrian School

SCENE FROM THE CYCLE: DANTE’S VITA NOVA 1912/13

Woodcut on cream Japan paper, no watermark. Sheet size: 18 1/2” x 13 3/4” (47 x 34.9 cm); image size: 10 1/4” x 9 3/8” (26 x 23.9 cm).

24 MARIA LASSNIG Kappel am Krappfeld 1919 - 2014 Vienna

SELBSPORTRAIT IN NEW YORK , 1968 Pencil on paper, 458 x 305 mm (18 x 12 inch) Signed, titled and dated lower right "Selbsportrait in New York Dez. 1968 M. Lassnig"

ML 16/016

Provenance Petzel Gallerie, New York; Maria Lassnig Stiftung, Vienna.

25 OTTO MUEHL Mariasdorf, Österreich 1925 - 2013 Moncarapacho, Portugal

LOVE ACT WITH A GOAT , 8.8.84 Watercolour on paper, 49.7 x 69.9 cm (19.6 x 27.5 inch) signed and dated on lower right: M 8.8.84

Provenance Friedrichshof collection, Austria.

26 OTTO MUEHL Mariasdorf, Österreich 1925 - 2013 Moncarapacho, Portugal

UNTITLED , 22.03.1985 Watercolour on paper, 310 x 440 mm (12.2 x 17.3 inch) signed and dated on lower right:m 22.3.85

Provenance Friedrichshof collection, Austria.

27 OTTO MUEHL Mariasdorf, Österreich 1925 - 2013 Moncarapacho, Portugal

UNTITLED , 1985 Watercolour on paper, 890 x 620 mm (35 x 24.4 inch) signed and dated on lower right: muehl 2 24.6.85

Provenance Friedrichshof collection, Austria.

28 OTTO MUEHL Mariasdorf, Österreich 1925 - 2013 Moncarapacho, Portugal

UNTITLED , 6.12.2000 Watercolour on paper, 245 x 171 mm (9.6 x 6.7 inch) signed and dated on lower left: OTTO 6.12.2000

Provenance Private collection, Austria.

29 EGON SCHIELE Tulln 1890 - 1918 Vienna

RECLINING MALE NUDE , 1910 Watercolour and pencil on paper, 310 x 430 mm (12.2 x 16.9 inch) Signed and dated lower right: SCHIELE 1910 Initialed lower left as vertical: S Kallir Cat. rais. no.

666

Provenance Dr. Rüdiger von Engerth, Vienna (acquired in 1946 and 1947); by descent to the current owner, Privat Collection, Austria (2005).

Exhibition - Egon Schiele, Art Basel Hong Kong, Richard Nagy, 27-31 March 2019.

Literature - Jane Kallir, Egon Schiele. The Complete Works. Including a Biography and a Catalogue Raisonné, New York 1990 and 1998, Cat. rais. no. 666.

- Richard Nagy,Egon Schiele,exh.cat. Art Basel Hong Kong, 2019, ill. no. 4.

30 EGON SCHIELE Tulln 1890 - 1918 Vienna

STUDY OF THE ARTIST'S SISTER , 1910 Crayon on paper; the gouache and watercolor by another hand, 445 x 305 mm (17.5 x 12 inch) Signed with the artist's initial S (lower left)

The authenticity of this work has been confirmed by Jane Kallir.

Provenance Felix Landau Gallery, Los Angeles; Acquired from the above in the 1960s.

31 EGON SCHIELE Tulln 1890 - 1918 Vienna

MALE NUDE (SELF-PORTRAIT) I , 1912 Brush and ink lithograph in one color on yellowish Velin paper, 449 x 400 mm (17.7 x 15.7 inch) signed and dated in pencil and in the stone with signet of the SEMA Association Edition 200

Published in the SEMA portfolio by Delphin-Verlag,

Munich. Kallir Cat. rais. no. Graphics 1/b/2

Interpretation As a true contemporary of Freud and Schnitzler, Schiele studied the psyche and believed implicitly that to understand another person’s unconscious processes, he had first to understand his own. The self-portraits are not simply an exhibition of nudity; they are an attempt at full disclosure of the self, a self-analysis, to reveal his unconscious sexual striving through autoerotic art.

Schiele’s naked full-body portraits are largely without precedent in Western art. Schiele carried the nude to another level: he created a new, autoerotic art to reveal his unconscious sexual striving.

– Eric Kandel

Provenance Galerie St. Etienne, New York; Private collection, USA.

23.10.2019 • Seite 42

32 EGON SCHIELE Tulln 1890 - 1918 Vienna

CROUCHING FEMALE NUDE , 1914 Gouache, watercolour and black crayon on paper, 310 x 480 mm (12.2 x 18.9 inch) Signed and dated on lower right: Egon Schiele 1914

Kallir Cat. rais. no. 1561

Interpretation The arresting nudes of 1914 demonstrate a remarkable voluptuousness and three-dimensionality. Dynamic positions - squatting, leaning, crouching - were now favored by the artist, with the underglaze used to define their forms contributing to the voluminous effect. Indicative of the artist’s shift in concentration to the figure itself, the faces of his models remain largely rounded and uncharacterized.

- Dieter Buchhart, Egon Schiele, Fondation Louis Vuitton, Paris 2018, p. 186.

Provenance Serge Sabarsky, New York; Private Collection, New York; Private Collection, Europe.

Exhibition - Egon Schiele 1890 – 1918. Paintings, Watercolors and Drawings, Felix Laundau Gallery, Los Angeles 1967. - Egon Schiele and the Human Form: Drawings and Watercolors, Des Moines Art Center, Des Moines September 20 - 0ctober 31, 1971; Columbus Gallery of Fine Arts, Columbus November 15 - December 19, 1971; Art Institute of Chicago, Chicago January 3 - February 13, 1972. - Egon Schiele, Haus der Kunst, Munich 1975. - Egon Schiele, Seibu Museum of Art, Tokyo, April 27 – June 6, 1979. - Egon Schiele. Aquarelle und Zeichnungen, Historisches Museum der Stadt Wien, Vienna; Neue Galerie der Stadt Linz, Linz; Museum Villa Stuck & Hannover, Kestner-Gesellschaft, Munich 1981-1982. - Egon Schiele, Pinacoteca Capitolina, Rome; Galleria Internazionale d'Arte Moderna, Venice. - Egon Schiele: Vom Schüler zum Meister, Zeichnungen und Aquarelle 1906-1918, Akademie der bildenden Künste, Vienna; Accademia di Belle Arti di Brera, Milan; Villa Zito, Palermo; Tel Aviv Museum, Tel Aviv (& travelling) 1984-85. - Egon Schiele: 100 Zeichnungen und Aquarelle, Bawag Foundation (& travelling), Vienna 1988-97. - Egon Schiele: Arbeiten auf Papier, Hauser & Wirth, Zurich 1994. - Interpretations of Nude, MilionArt - a brand of Froner & Partner GmbH, Messe Innsbruck, Haupthalle A, Innsbruck 30.11. - 04.12.2016. - Egon Schiele. Fondation Louis Vuitton, Paris 03.10.2018-14.01.2019.

Literature - Rudolf Leopold, Egon Schiele. Gemälde, Aquarelle, Zeichnungen, Salzburg 1972, ill. p. 585. - The Seibu Museum of Art, Tokyo: Egon Schiele - an exhibition selected and introduced by Serge Sabarsky. The Tokyo Shimbun, The Seibu Museum of Art, Tokyo 1979, fig. 53. - Serge Sabarsky, Egon Schiele. Disegni erotici, Milan 1981, ill. p. 29. - Bisanz/Sabarsky, Egon Schiele. Zeichnungen und Aquarelle, Historisches Museum der Stadt Wien, Vienna 1981, p. 72, ill. 82. - Serge Sabarsky, Egon Schiele, Watercolors and Drawings, New York 1983, illustrated p. 29. - Serge Sabarsky, Egon Schiele, Milan 1984, no. 134, ill. in colour n.p. - Nassau County Museum of Art, Serge Sabarsky, Egon Schiele 1890-1918, A Centennial Retrospective, Stuttgart 1990, ill. 73. - Annette Vogel, Egon Schiele, Arbeiten auf Papier, Zurich 1994, ill. in colour p. 81. - Jane Kallir, Egon Schiele. The Complete Works, New York 1998, no. 1561, ill. p. 530. - Buchhart, Egon Schiele, Fondation Louis Vuitton, Paris 2018, p. 186, no. 90.

33 EGON SCHIELE Tulln 1890 - 1918 Vienna

RECLINING FEMALE NUDE, MASTURBATING , 1914 Pencil on paper, 305 x 483 mm (12 x 19 inch) Kallir Cat. rais. no. 1579b

Interpretation Egon Schiele’s pencil drawing of a masturbating woman is one of the most uncompromising examples of his insistent exploration of human, notably female, sexuality, which led to the artist being discredited as a pornographer and incurred the ire of bourgeois society and its systems of justice. However, the model’s anonymity reflects that Schiele was not intent on voyeuristic titillation. Within the oval face, with no eyes, two eyebrows are rendered as if with a compass and extend to suggest the nose. Below there is still the resplendently sensual mouth with full lips, yet by omitting the eyes the figure loses all individuality. It is not possible for the viewer to gain eye contact, or fixate lasciviously on the figure as an object of lust. This unsigned and undated work can be classified around the year 1914, in terms of both style and content. At that time the subject of masturbation recurred frequently in Schiele’s graphic work, as did the geometric, simplified linking of eyebrows and nose, recalling Cubist stylistic devices. Furthermore, the curving-dynamic line is typical of this period, its rapid, almost gestural strokes aiming not so much at precise and detailed realism but at spontaneously capturing elemental vitality.

Edwin Lachnit

(translated from German by Rebecca Law)

Provenance Sam Francis, Santa Monica; Galerie St. Etienne, New York; Private collection, Vienna.

Exhibition - Au Temps du Klimt. La Secession a Vienne, Pinacotheque de Paris, Paris 12.2.2015 – 21.6.2015. - Interpretations of nude, MilionArt - a brand of Froner & Partner GmbH, Messe Innsbruck, Haupthalle A, Innsbruck 30.11. - 04.12.2016. - Egon Schiele, Albertina Museum, Vienna 22.02. - 18.06.2017.

Literature - Jane Kallir, Egon Schiele. The Complete Works. Including a Biography and a Catalogue Raisonné, New York 1990 and 1998, Cat. rais. no. 1579b, p. 673. - Egon Schiele, exh.cat., Albertina Museum, Vienna 2017, p. 292, no. 118.

23.10.2019 • Seite 36

34 EGON SCHIELE Tulln 1890 - 1918 Vienna

RECLINING FEMALE NUDE WITH RAISED LEGS, MASTURBATING , 1918 Black crayon on paper, 295 x 455 mm (11.6 x 17.9 inch) Signed and dated at lower centre: EGON / SCHIELE / 1918

Kallir Cat. rais. no. 2252

Interpretation The drawings Schiele produced in 1918 were, like those of the previous year, predominantly of the nude and semi- nude female studio model. He continued to make regular use of charcoal and, above all (as in the present sheet) of black crayon; but he now only rarely resorted to gouache or watercolour. The works on paper of what were to be the last ten months of his career are, at their best, a testament to his mastery of the continuous, form-sculpting line. Schiele’s work from the model during 1918 is also notable for the far greater proportion of the resulting drawings – well over 75 per cent – in which the figure is entirely naked.1 (This may well reflect a continuing preoccupation with his series of allegorical paintings, in which none of the figures is clothed.) But the remainder are, in turn, themselves remarkable for examples from two extremes. In some, including the present sheet, the garments are so rendered as to become effectively “invisible”. In others, the clothing is so obtrusive as to heighten our surprise at what is nonetheless revealed: this is the function of the overcoat and voluminous skirt worn by the squatting model in one of the most striking images of this period (see fig. Kallir, cat. rais. no. D 2418). Much was sacrificed at this time to the imperatives and exigencies of continuous production to satisfy the demand arising in response to Schiele’s now established reputation as a master of the erotic / pornographic.2 But, even in such circumstances,

Schiele’s enduring capacity for looking afresh at the female (semi-)nude ensured that examples such as our reclining figure do possess, alongside their slick efficacy, elements and aspects that may so startle or provoke (here, the disconcerting scale of the foregrounded and foreshortened thighs, or the implied simultaneous “presence” and “absence” of the subject herself) as to lift them well beyond erotic / pornographic “routine”.

1) The proportion for 1917 would be just under 50 per cent. 2) For a sobering assessment of Schiele’s drawings of this period as, on the whole, no more than “conventionally erotic”, see Jane Kallir, Egon Schiele: Drawings and Watercolours, London 2003, pp.

388-90. Elizabeth Clegg

Provenance Private collection, Austria.

Exhibition - Österreichischer Expressionismus – Malerei und Graphik 1905–1925, Musée d’Ixelles 18.06.1998 – 13.09.1998, Stadtgalerie Klagenfurt 16.10.1998 – 10.1.1999, Österreichische Galerie Belvedere.

Literature - Jane Kallir, Egon Schiele. The Complete Works. Including a Biography and a Catalogue Raisonné, New York 1990 and 1998, Cat. rais. no. 2252. - Rossi/Smola, Österreichischer Expressionismus – Malerei und Graphik 1905–1925, Ausstellungskatalog, Österreichische Galerie Belvedere/Musée d’Ixelles/Stadtgalerie Klagenfurt, Blondé Artprinting Int., Vienna 1998, ill. p. 41, no. 1.

Condition The drawing is in excellent condition and shows only the signs of aging corresponding to the age. It was professionally preserved by an expert according to museum standards and framed by hand according to historical models.

35 FRANZ WEST 1947 - Vienna - 2012

ALL TOO CREATURAL (DAS ALLZU KREATÜRLICHE) , 1990 Collage and mixed media on cardboard in original frame of the artist, 52 x 30 cm (20.5 x 11.8 inch) signed, dated and titled on lower centre and right: das allzu Kreatürliche, F.West 90

Provenance Artist's studio; Private collection, Austria; Private collection, Austria.