Egon Schiele. Women. Egon Schiele. Women.

Preface by Richard Nagy Chronology by Jane Kallir Essay by Jill Lloyd

RICHARD NAGY LTD

22 Old Bond Street, London, W1S 4PY Preface by Richard Nagy

I am often asked how my interest in Egon Schiele began and Leopold, Vienna and Serge Sabarsky, New York; on the other, at about $120,000. Having to catch a plane back to London, For me, the attraction of mounting a Schiele exhibition how I came to the place I am in this particular world. Wolfgang Fischer, London and Galerie St Etienne, New York, I left impromptu, empty-handed. Later that evening I had focusing on women is a combination of two things: the artist’s run by Jane Kallir, the grand daughter of Otto Kallir (the first a call from the Professor who barked at me, “Every time I see rebelliousness and the most exciting drawings of women done My paternal family emigrated from Hungary to Australia when great Schiele scholar) and her indomitable partner Hildegard you it costs me a lot of money! Why don’t you call me before in western art history. Schiele’s incomparable genius puts him at my father was twenty. He was born in Budapest, when it was Bachert, with seventy years experience in the Schiele world and the sales and we can buy together.” This was the beginning the forefront of the artistic rebellion. By 1910 he arrived as an still part of the Austro-Hungarian Empire, a month before Egon more knowledge of where the bodies are buried than any other. of a collaboration that lasted until his death last year. Expressionist, exhibiting a virtuoso use of line in psychologically Schiele died. I imbibed something of that world along with the penetrating, sexually explicit figures. This need to draw such Wiener Schnitzel and sour cherry strudel from my childhood. Enter Ian Peterson - the first watercolour I ever bought was There has been another collector who particularly stands subjects was informed by his youthful erotic energy as much on his behalf, a drawing from 1910 - Portrait of a Gentleman, out in my brilliant career, the New Yorker, Benedict Silverman, Of Egon Schiele specifically - I was given a monograph of as by his need to cock a snook at the art establishment. later to be identified as Otto Freund. It still ranks among the a man with whom I share a peculiar sensibility. We have his life and work in 1971, while still at school, at a time when best works by the artist I have handled. This Australian of a synchronicity of response to works of art, particularly with The contemporary critics who labeled his art pathological drawing was already an interest. The economy of Schiele’s rare sensibility, a collector new to the work of Schiele, had regard to Schiele but also in remote and diverse fields. His were products of their age that could not look for seeing the line was an extraordinary revelation, which I still remember the eye to recognise the exceptional quality of the artist. He collection, once described by a pompous auction employee forbidden. Today there is still much written about Schiele that well, and the images of his women were so authentic that they has become a good friend and has travelled the distance with as more an accumulation, is of such high quality that every harps back to the pathological - pop psychologists who see malady communicated intuitively. Unlike some artists I enjoyed at that me, still actively collecting. His generosity has been such that modern museum would be proud to hang any one work from where there is none. time, Schiele inspired a curiosity that defied any weariness born for the last twenty-five years there has hardly been a month it. He has always picked the most intense and essential works of familiarity. I never tire of seeing his works time and time In all of art history there are few examples of women when one of his works has not been exhibited in a museum of an artist’s oeuvre, and when engaged in pursuit has always again. This interest was dormant but clearly vital for many represented by male artists where there is an equality of power somewhere in the world. I owe him thanks for trusting the gone the full nine yards. His Schiele works are all exceptional years, before I had any thought of becoming an art dealer. Little between the artist and his subject; Schiele is one of them. His eye of an evolving art dealer. Schiele became a major interest and a singular pleasure for me to re-visit. did I know then that many of the works illustrated in that first youth and his lack of social and financial standing meant he was for him too, and for a period of time we pursued every major book would pass through my hands; some of them appear here Within the Schiele art dealing community there is a person not far removed from the street girls he drew. By 1910 he was work that appeared on the market. It was the beginning of my alongside the other works that have all been through my gallery. of excellence, Jane Kallir, with whom I have had nothing but an outsider as they were: a figure reviled by the establishment obsessive desire to know the circumstances of every Schiele that It gives me enormous pleasure to see them again. good experiences for more than two decades. I regard her as and cut off by his guardian. In the same way that the girls and was offered for sale anywhere. At this time we first locked horns a friend as well as a colleague. I would like to thank her here women he depicted were invisible in society, so was he. By 1980 I was already taking note of works passing through the with the omnipresent Professor Rudolf Leopold, often in Bern for her support and contribution to this exhibition. major auction houses while spending my commercial energy at Eberhard Kornfeld’s, where, unfortunately for us, we came Despite the ubiquity of pornography during his time, sexual on Old Master Rpaintings, particularly ItalianICHARD Baroque painting. second more often than not and received the consolation prize NI have beenAGY fortunate to have a rapport with most of the Lhypocrisy was rifeTD within Viennese society and Schiele was Though worlds apart, the expressionist sentiment of the one for persistent under-bidding, the rose. characters in this historically divided and distinctly eccentric determined to address it. This hypocrisy that the artist tackled informed the other. Having concluded that the supply of Old world. a century ago is still evident, albeit in the form of disguised I still had not met the Professor but knew him by sight and Masters of the quality I aspired to handle was diminishing liberalism, thereby striking a chord with artists and youth today. reputation. On getting to know him later, I understood he had Egon Schiele. Women. I decided to do this exhibition some rapidly, I turned to an area with a steady flow of great work, Ironically, Schiele is now a recognized inclusion in the canon the most reliable and intuitive eye when looking at a work by time ago, though it took a long time to coalesce. There has not where I could indulge my passion for Expressionism and Egon of twentieth-century private art collecting and drawings have Schiele or purporting to be by Schiele. been an exhibition dedicated to the artist in London for two Schiele. In the mid nineteen-eighties the commercial Schiele sold at public auction for an excess of $11,000,000. decades. More surprising is the fact that a void still remains in world was dominated by two camps: on the one hand, Rudolf In the late nineteen-eighties I had seen a small advertisement British public collections. Eight months ago I thought I would At the time of his death, aged twenty-eight, Schiele had left a for a wonderfully sensitive pencil drawing by Schiele for sale launch the new gallery in Old Bond Street with a general Egon profound impact on a reluctant art world. Being hailed a hero in Munich; I entered the auction house only to be upbraided Schiele show which became more refined as I looked to do an by both artists and sophisticated collectors today would not have by the Professor - he demanded to know why I was there. The exhibition previously unaddressed; hence the theme of women - surprised the artist who was utterly confident that he would be drawing was estimated at 20,000 Deutschmarks (about $10,000). surprisingly absent from Schiele’s exhibition history since almost recognized as the genius he knew himself to be. His drawings, Previous page I began to bid when the work was about to be hammered down half the artist’s oeuvre depicts women in one way or another. so rooted in their zeitgeist, are contemporary, even timeless. 1 Double Self Portrait, 1910 to Leopold at $20,000; we traded bids until he won the work Biographical Chronology by Jane Kallir 1903 Griepenkerl, a notoriously harsh and conservative painter of the old school. The mutual antipathy that develops between the two 1890 sole venue for exhibiting contemporary art) founds the Vienna Josef Hoffmann and Koloman Moser co-found the Wiener Werkstätte (Vienna Workshops), a crafts collective intended to prompts the young artist to skip class regularly. On 12 June, Egon Schiele is born, the first and only surviving Secession. Other than the philosophy embodied in its forward- explore more intensively the union of the fine and applied arts Schiele has his first small exhibition in Klosterneuburg son of Adolf and Marie (nee Soukup) Schiele. Egon’s childhood thinking motto, “To the age its art, to art its freedom” the previously explored by the Secession’s programme. organized by his former teacher Strauch. He is increasingly is darkened by illness, supposedly attributable to his father’s Secession espouses no set aesthetic programme. It shows the influenced by Gustav Klimt, whom he has reportedly met the untreated syphilis. Marie has previously given birth to three latest in foreign and domestic art and makes a concerted effort 1904 previous year and who becomes an intellectual father figure stillborn infants and a daughter, Elvira, who dies at the age to unify the applied and fine arts. To this end, the architect Josef The Schieles join Egon in Klosterneuburg after Adolf is for the young artist. Klimt’s work is prominently displayed of ten in 1893. Egon grows up in the company of an older Hoffmann and the designer Koloman Moser craft elaborate officially removed from his post in Tulln. On a summer outing at the 1908 “Kunstschau,” the first exhibition organized by and a younger sister, Melanie (born 1886) and Gertrude (born customized exhibition installations. to Marie’s birthplace, Krumau (now Cesky Krumlov in the the Viennese avant-garde since the Secession split. Early 1894). Egon is especially close to his younger sister, whom he 1901 Czech Republic), the critically ill father attempts suicide. work by Oskar Kokoschka, who will later take the lead in the affectionately calls Gerti and who will later become a favourite In the hope of preparing Egon for a university education, his Although thwarted in this endeavor, he dies on New Year’s Eve. development of Austrian Expressionism, can also be seen at that model. parents send him to a Realgymnasium in the town of Krems 1905 exhibition. At the time of Egon’s birth, Adolf Schiele is employed as about 25 miles from Tulln. The strategy proves a failure: Egon Dependent on Adolf Schiele’s meagre pension, the family’s 1909 stationmaster in Tulln, a small town on the Danube River must board with an unsympathetic widow and does poorly in financial circumstances decline precipitously, and Melanie about eighteen miles west of Vienna. From a very early age school. At mid-term, he is brought back to Tulln, where he Klimt invites Schiele to participate in a second international helps out by taking a job with the railroad. Leopold Czihaczek Egon is enthralled by two things: drawing and the railroad. His finishes the school year with the aid of a private tutor. “Kunstschau.” Kokoschka’s vanguard play Murder, Hope of remarkably precocious drawings of trains encourage his parents becomes guardian, together with Marie Schiele, of the two Women, which deals with sex, violence and the antagonism to conclude that he will follow in the family tradition and 1902 minor children, Egon and Gerti. Egon, increasingly immersed between the sexes was first performed on this occasion. Perhaps pursue a railroad career, possibly becoming an engineer like his The Schieles decide to try a Gymnasium in Klosterneuberg, in his art, continues to flounder in school. He is befriended by a emboldened by Klimt’s encouragement, Schiele unites with paternal grandfather. closer to Tulln. Though Egon’s uncle Leopold Czihaczek local painter some 12 years his senior, Max Kahrer, as well as by a group of likeminded classmates to form the Neukunstgruppe maintains a vacation home in the latter town, the boy must the art teacher at the Gymnasium, Ludwig Karl Strauch, who (New Art Group), which submits a formal letter of protest to 1897 again board with strangers, and his schoolwork shows little gives him private instruction. In 1905 Schiele executes his first Griepenkerl. Consequently threatened with expulsion, he and Led by Gustav Klimt, a group of young artists dissatisfied with improvement. Adolf Schiele’s syphilis enters its terminal phase, known self-portrait - a subject that will preoccupy him until the many of his friends withdraw from the Academy. In December, the conservative policies of the Künstlerhaus (then Vienna’s and he begins to show signs of mental impairment. end of his life. the Neukunstgruppe has its first public exhibition at the Salon In Vienna, the Secession is split by a rift between the traditional Pisko. Here Schiele meets the critic Arthur Roessler, soon easel painters and those who, like Klimt, Hoffmann, and Moser, to become one of his most ardent champions and patrons. favour a more unconventional union of the fine and applied 1910 arts. When the latter group walks out, the Secession effectively abandons its progressive programme, and the local avant-garde In his first full year of artistic independence, Schiele achieves is left without a steady exhibition venue. stylistic and professional breakthroughs with remarkable speed. Early in the year, he develops a personal variant of 1906 Expressionism that seemingly owes little to the precedent of Already two or three years behind most of his classmates, Egon Kokoschka or Kokoschka’s chief competitor Max Oppenheimer fails the spring term, and his mother is politely told to remove (Mopp). Schiele also quickly gathers around him a small but ICHARD him fromAGY school. Despite the opposition of his mother and loyal group of patrons,TD among them Roessler, the industrialist R Nprotests of his uncle Czihaczek, the boy takes and passes the LCarl Reininghaus, the wealthy physician Oskar Reichel, and rigorous entrance exam for Vienna’s Academy of Fine Arts. Heinrich Benesch, a railroad inspector of modest means At sixteen, the youngest of his fellow students, Egon enters the who has been following Schiele’s career since the 1908 nation’s foremost art school that autumn. His mother and sisters Klosterneuburg exhibition. He enjoys the continuing support move to Vienna to be with him, and he also comes under closer of Klimt’s circle, including Josef Hoffmann and the prominent scrutiny by his uncle. In the company of his sister Gerti, his elderly architect Otto Wagner. The Wiener Werkstätte publishes junior by four years, the sixteen-year-old student makes several three postcards reproducing Schiele watercolours. Josef train trips to Trieste, once replicating the itinerary of their Hoffmann, head of the Werkstätte, also arranges for Schiele parents’ wedding trip by staying overnight in a hotel. to take part in the “Internationale Jagdausstellung” in Vienna, in which Schiele shows a life-sized, seated female nude 1908 (now lost). Emperor Franz Joseph is alleged to have turned Having completed the introductory curriculum at the Academy, away at the sight of it with the words, “That is absolutely Schiele advances to the “general painting” class of Christian hideous.” Schiele makes studies of sick and pregnant women in the clinic run by gynaecologist Erwin von Graff, to whom to use local children as models, and one of these proves his additional sources of income, he begins an abortive experiment 1917 he was introduced by Carl Reininghaus. The inaugural undoing. Tatjana Georgette Anna von Mossig, a retired naval with etching. Not until the autumn does he find himself on Under the sponsorship of a sympathetic young art dealer, Karl Neukunstgruppe exhibition travels to Prague, where police officer’s daughter approximately thirteen years of age, decides sounder footing, largely due to the assistance of a new patron, Grünwald, Schiele is transferred to the Military Supply Depot object to more than a dozen of Schiele’s works due to their to run away from home and seeks refuge with Egon and Wally. Heinrich Böhler. Böhler is not just a collector, but Schiele's in Vienna. His duties are relatively light, and the commanding “obscene nature”; the works are removed from the exhibition. Though she returns to her family unharmed several days later, first regular student, and he also helps the artist buy paints and officer, Hans Rose, indulges his talents by assigning him to Despite his apparent success, Schiele grows increasingly her father accuses Schiele of kidnapping, and this in turn canvas. In December, Schiele has his second solo exhibition in create a pictorial documentation of supply depots throughout disgusted with Vienna. Rivalries within the Neukunstgruppe, prompts the authorities to launch a full-scale investigation. On Vienna, at the gallery of Guido Arnot. the Empire. In June, the artist travels with Grünwald (his romantic problems, and an abortive attempt by his uncle to 13 April, the artist is jailed on counts of kidnapping, statutory World War I, which breaks out in late July, initially has little immediate superior) to Tyrol in order to research this project. enlist him for military service prompt him to flee to Krumau in rape, and public immorality. The first two charges are eventually immediate impact on Schiele. A greater upheaval in his Despite wartime restrictions, Schiele’s career suddenly seems early May. This move, coupled with the artist’s constant requests dropped, but Schiele is convicted of the third, on the premise personal life is caused by the marriage, in November, of his to be taking off. He cements his relationship with Franz for money, brings to a head the brewing conflict with Czihaczek, that minors have seen indecent works in his studio. The favourite sister Gerti to his friend Anton Peschka. Under this Martin Haberditzl, the director of the Staatsgalerie (today who now renounces his guardianship and all financial authorities seize from his house a total of 125 drawings judged impetus, Schiele intensifies an ongoing flirtation with two Österreichische Galerie Belvedere), who buys three drawings responsibility for Egon. Throughout most of the summer to be obscene. Schiele spends a total of 24 days in jail, first in sisters, Adele and Edith Harms, who live across from his studio early in the year and in September sits for a portrait. The Schiele remains in Krumau, where he is joined by the artist Neulengbach and then at the larger district prison in Sankt on the Hietzinger Hauptstrasse. He begins experimenting bookseller Richard Lanyi publishes the first portfolio of original- Anton Peschka and Erwin Osen, a mime, sometime painter, and Pölten. While in custody, he produces thirteen watercolour with photographic self-portraits in collaboration with the format reproductions of Schiele’s drawings and watercolours in avant-garde poseur who emulates the antics of the French poet drawings that bear witness to his suffering. Following his photographers Anton Josef Trcka and Johannes Fischer. July, which gives a major boost to the young artist’s reputation. Arthur Rimbaud. Before settling into Vienna for the winter, release on 7 May, it is pointless to return to Neulengbach, and Schiele’s plans to establish a “Kunsthalle” for the promotion of 1915 Schiele makes a brief return trip to Krumau in October. The so Schiele retreats once more to Vienna. In October, after a contemporary culture run aground, but he nonetheless becomes medieval river town, which he calls “The Dead City,” becomes succession of makeshift living arrangements, he rents a studio at Schiele’s thoughts turn increasingly to marriage. He rejects increasingly active as an organizer of exhibitions. He gathers his most important landscape subject. Heinrich Benesch, who Hietzinger Hauptstrasse 101, which he will retain for the rest of the faithful but socially inferior Wally in favour of Edith, the contributions for a “War Exhibition,” which opens at the Army has known Schiele since 1908, visits the artist in his Vienna his life. younger of the two Harms sisters. Informally engaged in the Museum in Vienna, and subsequently travels in modified studio and starts collecting his drawings and watercolours. Emotionally scarred by his prison ordeal and financially early months of the year, the couple rush to marry after Schiele form to Holland, Sweden, and Denmark. His inclusion in an strapped by the attendant expenses, Schiele grows increasingly is drafted into the army. The wedding takes place on 17 June, exhibition at the Munich Secession rekindles the interest of his 1911 despondent. However, while he claims repeatedly that he and three days later the artist reports for basic training in former dealer, Hans Goltz. Schiele continues to feel uneasy in Vienna, moving first to one cannot work, his professional opportunities actually appear Prague. 1918 of the city’s outlying districts and then resolving to relocate to be improving. He exhibits alongside the radical Blauer After a brief posting in Czech Bohemia, Schiele is assigned duty permanently to Krumau where he returns in May. He is Reiter (Blue Rider) group at Goltz’s Munich gallery, with the closer to Vienna, where he is frequently able to sleep at home. Following the death of Gustav Klimt in February, Schiele is accompanied by Valerie ‘Wally’ Neuzil (1894 - 1917), formerly Sonderbund in Cologne, at the Hagenbund in Vienna, and he Many Austrian artists are shielded from active military service generally recognized as Austria’s leading artist. (Kokoschka one of Gustav Klimt’s models, who becomes Schiele’s lover and also participates in a two person show with Wilhem Lehmbruck by remarkably lenient regulations and special arrangements, has temporarily settled in Dresden.) Schiele’s new stature is foremost model until the time of his marriage. at the prestigious Folkwang Museum in Hagen. Additionally, he but Schiele’s initial attempts to acquire a similar sinecure prove confirmed by a sell-out exhibition at the Vienna Secession in The next months are productive and happy for Schiele, but acquires two important new patrons: the Viennese innkeeper unsuccessful. He spends his days digging trenches or guarding March. He is kept busy organizing exhibitions at home and his unorthodox behavior - particularly his openly conducted Franz Hauer and the wealthy industrialist August Lederer. He Russian prisoners-of-war. Although he tries to pursue his art, his abroad, and maintains a full calendar of portrait sittings and affair with Wally - alienates the conservative townspeople. The spends Christmas at the Lederer estate in Györ, Hungary, and production in the second half of the year plummets. modelling appointments. In June, he succeeds in getting himself situation erupts when a nude model is observed posing in his paints a portrait of August’s son Erich, who will later become transferred to the Army Museum, where he is effectively given garden, and the artist is forced to leave Krumau in August. After an important collector of the artist’s work. 1916 free rein to pursue his artistic activities. The Staatsgalerie a brief sojourn with his mother, SchieleICHARD moves to Neulengbach, In May, SchieleAGY is transferred to a prisoner-of-war camp at purchases Schiele’sTD portrait of Edith Schiele seated, the only R 1913 N L a town some twenty miles west of Vienna previously known to Mühling, a rural hamlet some three hours from Vienna. As one of the artist’s paintings to enter an Austrian museum during Despite his increasing professional contacts and exposure, him as the site of one of Czihaczek’s vacation homes. Mühling is not in a war zone, Edith can accompany him. Egon’s his lifetime. Schiele continues to live a hand-to-mouth existence. His job is not taxing (he works in an office), and his superiors make Schiele’s newfound financial success permits him to rent Schiele’s remove from Vienna makes it difficult for him to relationships with his original patrons - Reichel, Reininghaus, an effort to accommodate his artistic proclivities. He is even a larger studio on the Wattmanngasse, though he retains his sustain direct contact with his patrons, and he begins to seek Roessler and Benesch - are becoming strained, and the artist’s given an empty storeroom to use as a studio. Nonetheless, his old space with the thought of establishing an art school there. broader exposure. His first solo exhibition in Vienna, arranged financial position is not improved by his growing penchant for output continues to dwindle; this is his least productive year. The big studio, however, proves difficult to heat, and in the through Roessler, takes place at the Galerie Miethke in April. painting large, difficult allegories. A solo exhibition at Goltz’s Though the war has greatly reduced exhibition and sales autumn Vienna is plagued by shortages of fuel and food. In October, again under Roessler’s auspices, Schiele enters into gallery proves a failure, and in the autumn the dealer severs his opportunities, the artist gets some exposure when the left-wing In October, Edith, six months pregnant, contracts the deadly his first sustained relationship with an art dealer, Hans Goltz, in ties with Schiele. Munich. Berlin periodical Die Aktion publishes a special Egon Schiele Spanish flu and dies on the twenty-eighth. Egon, already ill, 1914 issue. A planned second exhibition at Arnot’s gallery falls lasts scarcely three days longer, succumbing early the morning 1912 Schiele’s financial plight worsens. He fails to win any sort of through, but helps reawaken Schiele’s professional ambitions. of the thirty-first. Just as he did in Krumau, Schiele soon runs afoul of the small- prize in a competition sponsored by Reininghaus, and in April Toward the end of the year, he launches a campaign to get town social mores of Neulengbach. It has long been his practice his landlord threatens him with eviction. Casting about for reassigned to Vienna. Egon Schiele and his Women by Jill Lloyd

A bony girl with dark hair curling round her head like a role of his erotic drawings: “My paintings should be shown in helmet and razor-sharp cheekbones, wears nothing but bright museums worldwide. My drawings should be shared amongst orange stockings cut off at the knee. And a man squints at us my family and my people, and may be sold in ten years.”¹ demonically, his pubic hair peeping from a robe while the In fact, these ‘private’ drawings were never intended for gesture of his fingers suggests his hidden sex. These are superb family and friends alone. On the contrary, the sale of Schiele’s examples of the nudes and self-portraits that lie at the heart of drawings, which were highly prized by contemporary collectors Schiele’s work (nos. 37, 2). But whereas we are well acquainted and other artists, financed his life. Rather than studies for RICHARD Nwith Schiele’sAGY life through contemporary accounts, letters and Lpaintings, most TDof his drawings were finished works in their own his own writings, we know little or nothing about the female right, which Schiele signed, sold and exhibited - sometimes, models that passed through his studio. Although a handful as we shall see, with scandalous consequences. Nevertheless, are known by name - Gerti, Wally, Moa, Edith and Adele are the dichotomy he recognised between public and private all remembered because of their intimate relationships with spheres, and the way Schiele’s drawings mediated between Schiele - the identity of the vast majority of girls, who stare the two, is essential to understanding his erotic work. so provocatively at us from these riveting sheets of paper, has This dichotomy relates to a widespread feeling among the been lost forever. By exploring their very anonymity we can Viennese avant-garde that public and private life were out nevertheless get an indication of the role they played for Schiele of sync, largely due to glaring hypocrisies in Viennese society. and their position in the kaleidoscope of Viennese society. The double standards that prevailed in relationships between One of Schiele’s known models, his sister-in-law Adele Harms, the sexes, where one set of rules applied to men and another recalled that the young artist’s last words, as he lay stricken to women, were a blatant manifestation of this malaise. While with Spanish flu on his deathbed in 1918, clearly distinguished men were associated with the public realm and fully expected 2 Self Portrait, 1910 between the public destiny of his paintings and the private to have both wives and mistresses, women were relegated to the racier extremes. Hugo Heller’s art salon was known for its social level where Schiele operated the outlook for women was pioneering presentation of erotic art: in 1908 he displayed less rosy: his sister Melanie, who models for many of his early some 120 drawings by Rodin, including women masturbating portraits, was obliged to take a job as a railway clerk after her and scenes of lesbian love, which Schiele undoubtedly saw. father’s death to supplement the family’s meagre income; while Schiele’s affirmation that “even the erotic artwork is sacred,”⁵ his younger sister, Gerti, thanks to her brother’s contacts, had echoes Rodin’s more developed thoughts: “In art immorality a more glamorous, bohemian fate working as a fashion model cannot exist. Art is always sacred, even when it takes for a for the Wiener Werkstätte. The unknown girls who became subject the worst excesses of desire. Since it has in view only models in Klimt’s and Schiele’s studios were scarcely more the sincerity of observation, it cannot debase itself.”⁶ respectable than prostitutes; indeed the boundary between the two was far from clearly drawn. If a girl lost her job as a maid Gustav Klimt, who was Schiele’s mentor from the time of or seamstress it was only too easy for her to loose her footing on their meeting in 1907, was also a trailblazer for erotic art. the social ladder altogether and end up with the many girls in The scandal provoked by his frank depictions of female poorly paid positions who could not survive without prostituting nudity in murals for the University of Vienna at the turn themselves on the side. of the century took years to die down. This was Klimt’s last publicly financed commission; afterwards he retreated into Tales abound of the ‘harem’ of models Klimt kept in his garden the private sphere, concentrating on portraits of the high studio, several of who mothered his illegitimate children, and society women who supported his art. Although Klimt whom he reputedly paid generously for their services. Schiele, apparently passed effortlessly between the two, a schizophrenic in contrast, had no money to pay his models before the war, division exists between these paintings of confident, often which was one of the reasons he coerced his sister Gerti forward-thinking women, which commanded extremely high into posing for him. The different attitude of the two artists prices, and his erotic drawings of nude models in his studio, is clearly reflected in their erotic drawings. Klimt evinces equally, although more discretely, sought after. This rift is an elevated detachment in his delicate drawings of women indicative of the extreme social and economic divisions that dreamily pleasuring themselves or clasped in lesbian embraces, simmered beneath the surface of Viennese society, and Klimt hovering alluringly and elusively before our eyes. Schiele, in was caught up in the double standards that prevailed. He stark contrast, is rawly and directly involved with his models, divided his women into the socially elevated patronesses whom engaging the spectator’s emotions through our identification he individualized, idealized and admired, and the anonymous with his point of view. The models stare provocatively at us working-class models he slept with - although the boundary (nos. 8, 32, 37) or, in the case of Woman in Boots with Raised Skirt between the two was not always firmly drawn. (no. 56), confronts the artist/spectator defiantly, her single eye and her sex making an equal claim on our gaze. Even the backs Schiele could in no way rival Klimt’s social success. The only of the girls speak urgently to the viewer, pressed up against woman painted by both artists was Friederike Maria Beer, who our field of vision in Reclining Woman with Standing Nude (no. 27). physical and psychological inner world of the house and home. that masked the true nature of sexual relations in turn-of-the- was the daughter of the proprietor of the elegant Kaiser-Bar Schiele’s radical, filmic framing of the women’s bodies, often As virginity was a prerequisite for what were often socially century Vienna. Paedophilia was rife as street urchins like those in Vienna; she was an enthusiastic supporter of modern art seen from above with arms and limbs severed to give us a close advantageous marriages rather than marriages of love, the who posed for Schiele (nos. 16, 23) and Kokoschka scrambled whose wardrobe consisted exclusively of Wiener Werkstätte up of a sex or breast, jolts us into engaging with each individual sexuality of women from the middle and upper classes to eke out a living.³ Often advertised as ‘an artist’s aid,’ tens designs. However, whereas Friederike paid Schiele 600 crowns ICHARD AGY drawing anew. TD was controlled andR repressed - providing some fascinating of thousands of cheap, under-the-counter pornographic N L for his striking portrait of her, Klimt received 20,000 crowns case histories for Freud and Breuer when they set about writing photographs circulated in the streets and cafés. The direct two years later for his more decorative, ornamental portrait, All these aspects of Schiele’s nudes, which erupted into his work their groundbreaking Studies in Hysteria in 1893-95. In polite engagement of the viewer’s emotions, the varied poses, the commissioned by her wealthy lover, the artist Hans Böhler, with little forewarning in 1910, bespeak a hot, sexual urgency society nudity was considered shocking and masturbation preference for child nudes and states of half-dress evident in whom we have already encountered as a collector of Schiele’s related to the artist’s youth. Just twenty years old at the time, was taboo, associated not only with illness and insanity, but pornographic photography all recur in Schiele’s drawings erotic drawings. Schiele’s adolescent sexual energy goes hand in hand with his also subject to brutal medical interventions. A prominent (nos. 13, 14, 17).⁴ Indeed the new visual ploys artists discovered self-conscious staging of erotic poses to guarantee maximum Klimt was fatally attracted to women, partly for their sexual gynaecologist, Rudolph Chrobak, recommended removing in this popular erotica helped them to subvert the classical ideals effect. There is always a dialogue between his self-portraits and allure, partly because they were a lucrative source of income, the clitoris as a remedy of last resort in cases of what he classed that underpinned traditional representations of nudity, evident, his nudes, beginning with the twisted and tortured male bodies but also because they summed up for him the myriad “chronic masturbation.”² This is the background against which for example, in Schiele’s early academic nudes. In the public of 1910 that dissect the artist’s sexual longings and frustrations transformations and contradictions of the changing times, which Schiele’s subversive depictions of the naked body, like Woman in imagination there was a crossover between popular erotica and with a scientific eye. The scholar Alessandra Comini connects increasingly propelled women from the private into the public Red Garters (no. 31), must be seen. fine art. Certain of Schiele’s patrons, notably the industrialist not only the obvious example of Eros (no. 3) but all the self- sphere. Several sitters for Klimt’s portraits were active Carl Reininghaus and wealthy artist Hans Böhler, had a taste portrait drawings of this period with masturbation, suggesting A booming pornography industry and a vast underclass of in the women’s movement and his companion Emilie Flöge for ‘sensational material,’ reportedly urging Schiele to ever that Schiele’s grimaces, contortions and ‘guilty’ severing of his prostitutes propped up the flimsy façade of public respectability was a successful businesswoman and dress designer. On the hands and limbs relate to witnessing his own sexual gratification a hotel in order to retrace the steps of their parent’s in the life-size studio mirror.⁷ Schiele’s nude self-portraits are honeymoon. Gerti recalled that Schiele exerted undue conceived in response to his women: they oscillate between pressure on her: “He dragged me into everything, he had identification with his models and existential isolation, between a persistent and often tyrannical way of staking his claim hotheaded self-confession and coy self-dramatization. They to my services and getting me to stay by his side. With a clock maintain an electric tension between private self-expression in his hand he would come to my bed early in the morning and public self-display. and awaken me. I was to pose for him and obey his commands: one, two, three... so I had to get up and follow him to his Schiele’s sexually charged drawings relate to a pervasive studio.”¹⁰ Gerti’s reluctance and Schiele’s mixed emotions obsession with sexuality in turn-of-the-century Vienna, of domination and confusion intensify the sexual charge. where a veritable pressure-cooker of repressed impulses Her gestures attempt to shield her from the artist’s gaze; gave rise to a generation that was, in Stefan Zweig’s words, and in his most blatant erotic portrayal of her with legs “a thousand times more erotically inclined” than the generation spread (no. 9), Schiele spotlights Gerti’s sex, severing her that followed “with its greater freedom of love.”⁸ Sex was head to deny or hide her identity. When she began to work a theme not only in Klimt’s and Schiele’s drawings but also as a model for the Wiener Werkstätte, Gerti apparently in the writings of Richard von Krafft-Ebing, Sigmund Freud, became less compliant with her brother; in 1914 she achieved Arthur Schnitzler and Otto Weininger, all of who, in various her independence from Schiele by marrying his friend from ways, showed humans at the mercy of their sexual impulses. the Academy of Fine Art, Anton Peschka. Not surprisingly, these artists and writers met with fierce resistance from the establishment. When Klimt exhibited Schiele used Gerti’s angular, adolescent body, “as gaunt as erotic drawings at the Galerie Miethke in 1910, he was accused a medieval wood carving,”¹¹ to undercut the ideals of classical of producing “pathological art.”⁹ In Schiele’s case things went beauty associated with traditional nudes. Inspired by the a stage further when fourteen of his drawings were removed elongated bodies of Georg Minne’s sculptures of male youths from an exhibition of the New Art Group in Prague. and by Kokoschka’s ‘Dreaming Youths,’ Gerti represents Condemned as an “iniquitous trend,” this public display a new kind of modern, androgynous body. As she began to of erotic art was clear evidence of a crack in the hypocritical live her own life Schiele’s sister was replaced by an assortment façade of Viennese society, which was threatened in the first of adolescent models, many of who undoubtedly doubled as decade of the twentieth century by urgent forces of change. prostitutes and entered into casual sexual relationships with the artist. Although the models are anonymous, some are The avant-garde responded to this cracking façade by launching recognisable, including the so-called ‘dark-haired girl,’ who a frontal attack on all forms of hypocrisy. Karl Kraus, Adolf appears in several drawings, including Woman with Homunculus, Loos, Arnold Schönberg, Ludwig Wittgenstein and Oskar 1910 (no. 7). Pictured from behind with the glimpse of a breast Kokoschka all pursued a relentless search for truth, which and an alluring eye, the girl in this drawing pulls away in horror involved exposing social and psychological taboos. Determined from the child-monster that clings to her back. Her apparent to launch himself on the art scene with a bang (as Kokoschka fear of motherhood possibly relates to an episode mentioned did with the production of his misogynistic play Murder, Hope in Schiele’s correspondence with Dr Erwin von Graff, a of Women at the 1909 Kunstshau), Schiele aligned himself RICHARDgynaecologist who gave Schiele access to the women’s clinic NAGY LTD in 1910 with this new critical avant-garde: the style and subject at the University Hospital in 1910 to draw women, babies and matter of his nudes deliberately violated social and aesthetic stillbirths. This was an important episode in Schiele’s emerging norms. While his transgressive subjects stripped away sexual independent style, as it infused his work with a semi-scientific, prohibitions, his innovative Expressionist style affronted the investigative spirit. Schiele recorded the existential crisis of birth rules and regulations of what was acceptable in art, upheld in drawings of contorted, grimacing infants, isolated against by the art establishment in Vienna just as rigidly as sexual a blank ground, which exerted a strong influence on his self- propriety was upheld by society at large. portraits. In an exchange of services, Schiele painted Graff’s Schiele enacted a number of transgressive strategies in his portrait to finance an abortion for one of his girlfriends. Given drawings, beginning with the depiction of his sixteen-year-old Schiele’s preference for the ‘dark-haired girl,’ it is possible that sister Gerti as an erotic nude posing provocatively in suspenders she was the girlfriend in question, identified by Graff simply and a large hat (no. 12). Schiele had long since had an by her initials ‘L.A.,’ and the comment that she was “unhappy ambiguous relationship with his sister: when she was just twelve- about Schiele’s unfaithfulness.”¹² The dark-haired girl is years-old he took her on trips to Trieste, booking into recognisable in several of the 1910-1911 drawings, gradually 3 Eros, 1911 maturing from a skinny waif (nos. 13, 14, 15, and 22) into sex and death also relates to Symbolist ideas at the turn of the the beautiful Sleeping Girl (no. 26) whom Schiele depicts with century, expressed by artists Schiele admired such as Edvard unusual tenderness. Munch and Félicien Rops. Typically, Schiele placed himself in relation to avant-garde concerns at the same time as he exposed These girls from the social periphery are often omitted from deep-seated social taboos. Venereal disease, which was rife histories of turn-of-the-century Vienna, which is commonly beneath the surface of Viennese society, cut across all social represented as a glamorous, elitist high culture. Although boundaries. It threatened not only the Ottakring prostitutes but the city’s poverty was hidden behind the impressive facades also respectable women like Schiele’s own mother: as a result of tenement blocks whose architecture was modelled on the of his father’s syphilis three of Schiele’s siblings were stillborn palaces of the Ringstrasse, the disinherited poor from the and his sister Elvira died when she was just ten years old. proletarian district of Ottakring were still viewed as a “dangerous other” in urban Vienna. They constantly All the time that Schiele remained in the hothouse culture threatened to erupt into social unrest, like the hunger strike of Vienna his transgressions were tolerated as part of the that broke out in 1911.¹³ Although Schiele was not making avant-garde assault on established values, for which Klimt a political point, he identified with the girls’ outsider status, and the secessionist generation had prepared the ground. which could effectively be used to undermine the status quo. Schiele assumed the role of a subversive outsider through his His drawings of 1910-1911 were all the more shocking for identification with the Ottakring prostitutes, or with the avant- their focus on pubescent children, street urchins baffled by garde poseur and mime artist Erwin Osen and his girlfriend their emerging sexuality who were persuaded to pose for a Moa, who claimed Polynesian descent and whose dark, exotic handful of pennies or sweets (nos.16, 18 and 23). The artist and beauty is recognisable in several drawings from this period, writer Paris von Gütersloh recalled, “There were always two or some of which are signed with her name. The real trouble three smaller or larger girls in (Schiele’s) studio; girls from the started when Schiele sought literally to marginalise himself neighbourhood, from the street, solicited in nearby Schönbrunn by moving out of the city centre to the small provincial towns Park; some ugly, some attractive, some washed, but also some of Krumau and Neulengbach, where bourgeois morality was unwashed. They sat around doing nothing... Well, they slept, rigidly upheld. Schiele took with him his first serious girlfriend, recovered from parental beatings, lolled about lazily (which Wally Neuzil, a model from Klimt’s studio who was passed on they were not allowed to do at home), combed… their closely by the elder artist to his young protégé. Their openly conducted cropped or tangled hair, pulled their skirts up or down, tied affair and the glimpse of a nude model posing in the garden in or untied their shoelaces. And all this they did - if one can call Krumau in the summer of 1911 scandalised the locals to such that doing something - because they were left to themselves an extent that the couple was forced to move to Neulengbach, like animals in a comfortable cage, or so they perceived it.” a small town some twenty miles west of Vienna.

In his drawings of adolescent prostitutes and street urchins In Neulengbach Schiele’s practice of using child models led Schiele enacts a drama of concealment and exposure: young to disaster. Whereas in Vienna he had been able to recruit girls pull up their dresses to display their rosy buttocks and urchins from the city streets, he now became dependent on pudenda or the flash of a female sex (nos. 20, 22 and 23). local children whose parents kept a much closer eye on them. RICHARD NSchiele’s AGYself-portraits also alternate between erotic suggestion LOne of these girls,TD Tatjana Georgette Anna von Mossig, the - a half-concealed hint of pubic hair (no. 2) - and exhibitionism, daughter of a retired naval officer, proved the artist’s undoing which is taken on occasion to extremes (no.3). Colour, which when she ran away from home and sought refuge with Schiele Schiele added later to his drawings, exaggerates sexual features: and Wally. Although her father quickly reclaimed her, he reds and oranges in particular accentuate lips, nipples and accused Schiele of abducting his daughter, which led to both male and female genitalia. Alternating with these bright, a full-scale investigation. When the police and a local clerk exhibitionistic colours, areas of purple, blue, green and grey- searched Schiele’s home they discovered “a coloured sheet brown flesh make the bodies look bruised and vulnerable, depicting a very young girl dressed only above the waist,” as if they are in a state of decay. This is yet another aspect which was confiscated as an affront to public morality.¹⁴ Schiele of Schiele’s transgression: crossing the boundary between sex was jailed on 13 April 1912, accused of kidnapping, statutory and death, Eros and Thanatos, in his bruised and skeletal nudes. rape and public immorality. His pre-trial imprisonment of Often this is associated with the artist’s experience of losing his twenty-one days was actually unjustified, as he was not formally father, who went insane and died from untreated syphilis when charged; it was primarily the artist’s marginal social status and Schiele was just fourteen years old. But the affinity between clumsy self-defence that led to his detention. Apparently Schiele 4 Nude Self Portrait, 1912 had attempted to defend himself by insisting that he had many Art and For My Loved Ones I Will Gladly Endure to the End!” far more overtly erotic drawings, which he proceeded to fetch His erotic drawings derive their power from flying in the face from his studio drawers. Eventually the unjustified charges of of both social and artistic taboos. But once imprisoned Schiele kidnapping and rape were dropped, but Schiele had no idea retreated psychologically into a private, aesthetic realm where before his trial whether he would be facing twenty years for he felt free from all restraints, bitterly condemning society for seducing a minor or a maximum sentence of six months for its misunderstanding of his genius. the public display of offensive images. On 4 May Schiele was After the Neulengbach affair Schiele did not stop drawing condemned to three extra days imprisonment for causing a erotic nudes - far from it - but he avoided children and public nuisance by displaying an erotic drawing in full view pubescent models in favour of fully rounded, adult women. of children visiting his studio. Reputedly, the judge, who He was also far more careful about how his drawings were Alessandra Comini describes as a collector of morally dubious displayed and who had access to them. Significantly, he art works, burnt the offending drawing during the trial.¹⁵ withdrew from a plan to reproduce a selection of his drawings in However, it was not the drawing itself but rather its public a graphics portfolio. As he wrote in a letter to his friend display that contravened section 516 of the penal code; the and supporter Heinrich Benesch in June 1912: “Only highly more extreme erotic drawings that Schiele naively produced select people can have them because of the risk.”²⁰ in self-defence were not called into question because they had been stored in a drawer. It was the act of crossing the boundary Schiele also began to crave a less marginal, more conventional from the private to the public realm that caused the offence. lifestyle. Through the troubles of 1912 his girlfriend and model Wally Neuzil remained a faithful friend. As well as modelling Schiele’s detainment in the Neulengbach and Sankt Pölten for Schiele she did the artist’s household chores and delivered prisons was a traumatic affair, recorded in the artist’s so- his erotic drawings to clients whose lewd comments sometimes called ‘Prison Diaries,’ which were published posthumously by reduced her to tears. Wally is the most distinctive of Schiele’s Arthur Roessler in 1922.¹⁶ Among his general meditations on models; with her red hair piled on top of her head and her wide- art and life, Schiele insisted that his erotic drawings had been set green eyes, she appears in many drawings that are far more misunderstood: “No erotic work of art is filth if it is artistically individualised than other nudes, for example in the alluring significant. It is only turned into filth through the beholder, sequence where she wears black stockings tied by if he is filthy.”¹⁷ Echoing Freud, Schiele asserted that his a red bow (nos. 31, 32, 33). In one of Schiele’s most beautiful 5 Self Portrait as St. Sebastian, 1914 depictions of child sexuality were firmly based in fact: “Have drawings Wally is pictured in a bright orange dress that licks adults forgotten how they themselves as children were incited around her body like a flame (no. 40). But there is a new and aroused by the impulse of sex? Have they forgotten how element in Schiele’s drawings of Wally in 1914, where she an ambition he fulfilled in June 1914, when Edith and the integrated into the mainstream of modern art. In the Wiener terrible passion burned in them and tormented them while displays a doll-like passivity and her nose and eyebrows are artist rushed to marry after Schiele was drafted into the army. Abendpost we read: “Schiele’s preference is to paint and draw they were still children? I have not forgotten, for I suffered stylised with missing or button eyes. These drawings evince Alongside professional models, whom he could now afford to the ultimate in vice and the ultimate in degradation, woman terribly from it.”¹⁸ Schiele claimed that he had been driven a new distance and melancholy, far removed from the urgent pay, many of the portrait drawings and nudes dating from the as an instinct-ridden herd animal, rid of all the inhibitions less by an urge to shock than by a need to exorcise the ghosts erotic engagement of Schiele’s earlier work. In Wally Neuzil last four years of Schiele’s life depict his wife or his new sister- of morality and shame. His art - and it is art - does not smile. of his own urgent desires: “I painted such ghosts. By no means in Blue Blouse (no. 35) the model’s whole body expresses in-law, Adele (nos. 44, 52 and 53). These late drawings are It grins a ghastly and distorted grin.”²² But whereas Weininger for my pleasure. It was an obligation.”¹⁹ The artist refused this melancholy mood; the same pose recurs in Schiele’s more hemmed in by the conventions of erotica - voyeurism and Kokoschka pushed their bestial vision of women to to take responsibilityR for his deliberate attemptICHARD to transgress NAGY LTD painting Man and Woman I (Lovers I), 1914, which publicly tends to displace Schiele’s former engagement with his nudes. misogynistic extremes, Schiele is equally driven in his self- the limits of the socially permissible, reaffirming his absolute commemorated the end of their relationship. It shows Schiele The theme of the faceless doll that begins with Wally persists portraits by animal instincts and passions, which simmer belief in the moral freedom of art. In his prison self-portraits, and Wally entwined in a final embrace with Wally’s head sunk in several of Schiele’s drawings of Edith, which acknowledge beneath the surface of civilisation like the body pulses which were made for the first time without a mirror to hand, sadly between her arms. loneliness even when men and women are clasped in an beneath its clothes. Schiele presented himself as a martyr to the cause of art, going intimate embrace. This development is matched by a calmer, so far as to represent himself as St. Sebastian in 1914 (no.5), By the end of the year Schiele had rejected Wally in favour more resigned realism, clearly evident in Schiele’s Self-Portrait pierced by the arrows of public scorn. Although his prison of Edith Harms, daughter of the iron industrialist Johann in Uniform, 1916, (no.6), which records the artist’s physiognomy drawings were conceived as horizontals, showing the artist Heinrich Harms, who lived with her family opposite the with a newly objective eye. huddling under blankets on his prison bed, these self-portraits artist’s new Viennese studio in Hietzinger Hauptstrasse. are flipped into verticals, a device that the artist often used in Schiele reportedly attracted the attention of Edith and her By the time of Edith and Schiele’s deaths from Spanish flu the studio nudes to create a sense of spatial and psychological sister Adele by dangling his most outrageous self-portraits in October 1918, Schiele had taken Klimt’s place as Austria’s disorientation. Schiele inscribed the prison drawings with titles out of the window and bombarding them with notes until leading artist. Although reviews of his sell-out exhibition at that bear witness to his adolescent emotions: “Hindering the they agreed to meet him. By February 1915 Schiele wrote the Vienna Secession in March 1918 dwelt on his transgressive Artist is a Crime, It Is Murdering Life in the Bud” and “For My of his intention “to marry advantageously, not to Wally,”²¹ sexuality, his subversive imagery had nevertheless been ¹ Christian M. Nebehay, Egon Schiele, 1890-1918: Leben, Briefe, Gedichte, ¹² Letter from Graff to Schiele dated May 18,1910, Nebehay 1979, no.102. (Salzburg 1979), no. 1777. ¹³ Wolfgang Maderthaner and Lutz Musner, “Outcast Vienna: The Politics of ² Marie-Luise Angerer, “The Discourse on Female Sexuality in Nineteenth- Transgression,” International Labor and Working Class History, no. 64, Fall 2003 Century Austria,” Austrian Women in the Nineteenth and Twentieth Centuries, pp.25-37. Cross-Disciplinary Perspectives, David F. Good, Margarete Grandner and Mary ¹⁴ Manuscript reminiscence by Heinrich Benesch quoted in Tobias Natter, Jo Maynes eds., Austrian Studies vol. 1, (Providence and Oxford, 1996), 2005-6, p.145. p.189. For a general discussion of the nineteenth-century hysteria surrounding masturbation see Peter Gay, Schnitzler’s Century, The Making of Middle Class ¹⁵ Alessandra Comini, Schiele’s Nudes, Prurience and Pathos, Gagosian Gallery, Culture 1815-1914, (London, 2001), p.147f. (New York 1994).

³ Several writers and artists, including Peter Altenberg and Adolf Loos, were ¹⁶ The authenticity of these diaries has been called into question as they were indeed known for this predilection. Altenberg had an extensive photo collection ghost-written by Roessler. of adolescent nudes. ¹⁷ Alessandra Comini, Schiele in Prison (New York, 1973) p. 59. The influence of pornographic photography on Schiele is discussed by Klaus ⁴ ¹⁸ Ibid. Albrecht Schröder, Egon Schiele, Albertina, (Vienna, 2005), p.192. ¹⁹ Quoted in Alessandra Comini, 1974, p.34. ⁵ Letter from Schiele to Leopold Czihaczek, September 1, 1911, in Christian M. Nebehay, 1979, no. 251. ²⁰ Quoted in Tobias Natter, 2005-6, p.153.

⁶ Quoted in Albert Elsen, “Drawing and a New Sexual Intimacy: Rodin and ²¹ Letter to Arthur Roessler, February 1915, quoted in Whitford, 1981 p. 153. Schiele,” Egon Schiele, Art, Sexuality and Viennese Modernism, ed. Patrick ²² Arnim Friedemann, Schiele exhibition review in Wiener Abendpost, Werkner, (Palo Alto,1994), p.27. 21 March 1918. ⁷ Alessandra Comini, Egon Schiele’s Portraits (Berkeley and Los Angeles, 1974), p.62.

⁸ Stefan Zweig, The World of Yesterday, (New York, 1943), quoted in Frank Whitford, Egon Schiele, (London, 1981), p.92.

⁹ “Krankhafte Kunst,” in Deutsches Volksblatt, December 22, 1910, quoted in Tobias Natter, “Egon Schiele and the Neuelengbach Affair,” Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections, (Neue Galerie New York, 2005-2006), p.150.

¹⁰ Christian M. Nebehay, Egon Schiele Leben und Werk, (Salzburg and Vienna, 1980), p.18

¹¹ Frank Whitford, 1981, p.90. RICHARD NAGY LTD

6 Self Portrait in Uniform, 1916 The Women

RICHARD NAGY LTD RICHARD NAGY LTD

7 Woman with Homunculus, 1910 RICHARD NAGY LTD

8 Seated Nude in Violet Stockings, 1910 RICHARD NAGY LTD

9 Reclining Nude in Violet Stockings, 1910 RICHARD NAGY LTD

10 Eva Freund in Blue Hat, 1910 11 Gerti Schiele in Orange Hat, 1910 RICHARD NAGY LTD

12 Gerti Schiele in Large Hat, 1910 13 Dark Haired Girl, 1910 RICHARD NAGY LTD

14 Seated Girl with Pigtails, 1910 RICHARD NAGY LTD

15 Dark Haired Girl Undressing, 1910 RICHARD NAGY LTD

16 Seated Young Girl, 1910 17 Kneeling Woman in Coloured Dress, 1911 RICHARD NAGY LTD

18 Reclining Girls Embracing, 1911 RICHARD NAGY LTD

19 Seated Nude, 1911 20 Standing Nudes, 1911 RICHARD NAGY LTD

21 Gerti Schiele Sleeping, 1911 RICHARD NAGY LTD

22 Two Nudes Embracing, 1911 RICHARD NAGY LTD

23 Kneeling Girls Embracing, 1911 RICHARD NAGY LTD

24 Woman in Black Pinafore, 1911 25 Blonde Woman with Red Muff, 1911 RICHARD NAGY LTD

26 Sleeping Girl, 1911 RICHARD NAGY LTD

27 Reclining Woman and Standing Nude, 1912 28 Girl in Blue Pinafore, 1912 RICHARD NAGY LTD

29 Dreaming Woman, 1912 30 Woman in Black Stockings and Blue Jacket, 1913 RICHARD NAGY LTD

31 Woman in Red Garters, 1913 32 Wally Neuzil in Black Stockings, 1913 RICHARD NAGY LTD

33 Man and Woman, 1913 RICHARD NAGY LTD

34 Standing Nude in Red Jacket, 1913 RICHARD NAGY LTD

35 Wally Neuzil in Blue Blouse, 1914 36 Reclining Woman with Raised Skirt, 1914 RICHARD NAGY LTD

37 Standing Nude in Orange Stockings, 1914 RICHARD NAGY LTD

38 Reclining Nude with Raised Shirt, 1914 39 Kneeling Blonde Nude, 1914 RICHARD NAGY LTD

40 Woman Removing Green Stocking, 1914 RICHARD NAGY LTD

41 Woman in Veil, 1915 RICHARD NAGY LTD

42 Girl with Umbrella, 1916 43 The Actress Marga Boerner, 1917 RICHARD NAGY LTD

44 Adele Harms with Dog (Lord), 1917 RICHARD NAGY LTD

45 Nude on Hands and Knees, 1917 46 Girl in Underclothes, 1917 RICHARD NAGY LTD

47 Reclining Nude with Raised Shirt and Garters, 1917 48 Nude in Fur Coat, 1917 RICHARD NAGY LTD

49 Seated Nude with Yellow Drape, 1917 50 Woman in Green Stockings, 1917 RICHARD NAGY LTD

51 Girl in Blue Slip, 1917 RICHARD NAGY LTD

52 Adele Harms, 1917 53 Edith Schiele (née Harms), 1918 RICHARD NAGY LTD

54 Seated Woman with Crossed Legs, 1917 55 Kneeling Nude, 1918 RICHARD NAGY LTD

56 Woman in Boots with Raised Skirt, 1918 1 5 Double Self Portrait Self Portrait as St. Sebastian 1910 Pencil 1914 55.9 x 36.2 cm. Pencil 22 x 14 ¼ in. Signed Egon Schiele Index K D 717 and dated, lower right 32.4 x 48.2 cm. 12 ¾ x 19 in. K D 1658

2 6 Self Portrait Self Portrait in Uniform 1910 1916 Watercolour and charcoal Pencil Initialled S, lower left Signed Egon Schiele Initialled S and dated, and dated, lower right lower right 45 x 29 cm. 45 x 30.2 cm. 17 ½ x 11 ½ in. 17 ¾ x 11 ⅞ in. K D 1854a K D 684

3 7 Eros Woman with Homunculus 1911 1910 Gouache, watercolour Gouache, watercolour and crayon and pencil Signed Egon Schiele Initialled S and dated, upper left and dated, lower right Inscribed Eros upper right 55.6 x 36.5 cm. ICHARD AGY55.9 x 45.7 cm., 22 x 18 in. TD21 ⅞ x 14 ⅜ in. R N K D 948 L K D 396

4 8 Nude Self Portrait Seated Nude in Violet Stockings 1912 Watercolour and pencil 1910 Signed Egon Schiele Gouache, watercolour and dated, lower right and crayon 43.8 x 29.8 cm. Signed S 17 ¼ x 11 ¾ in. and dated, lower right K D 1167 43.5 x 29.8 cm. 17 ⅛ x 11 ¾ in. KD 527 9 13 17 21 Reclining Nude Dark Haired Girl Kneeling Woman Gerti Schiele Sleeping in Violet Stockings in Coloured Dress 1910 1911 1910 Watercolour and pencil 1911 Gouache, watercolour Gouache, watercolour Initialled S Gouache, watercolour and pencil and crayon and dated, lower right and pencil Signed Egon Schiele Signed Egon Schiele and dated, 33.7 x 23.8 cm. Initialled S and dated, lower right centre right. Initialled S 13 ¼ x 9 ⅜ in. and dated, lower right 45.7 x 31.7 cm. (vertically), lower right K D 581 56 x 38.4 cm., 22 x 15 ⅛ in. 18 x 12 ½ in. 31.6 x 44.9 cm. K D 822 K D 864 12 ½ x 17 ⅝ in. K D 524 14 18 22 Seated Girl with Pigtails Reclining Girls Two Nudes Embracing 10 Embracing 1910 1911 Eva Freund in Blue Hat Gouache, watercolour 1911 Watercolour and pencil 1910 and pencil Gouache, watercolour Initialled S Watercolour and crayon Initialled S and pencil and dated, lower left 20.3 x 30.2 cm. and dated, lower right Signed Egon Schiele 56 x 37 cm. 8 x 11 ⅞ in. 56.5 x 37.5 cm. and dated, lower right 22 x 14 ⅝ in. K D 469a 22 ¼ x 14 ¾ in. 48.3 x 30.5 cm., 19 x 12 in. K D 885 K D 571a K D 774

11 15 19 23 Gerti Schiele Dark Haired Seated Nude Kneeling Girls Embracing in Orange Hat Girl Undressing 1911 1911 1910 1910 Pencil Gouache, watercolour Watercolour and crayon Pencil Initialled S and pencil Signed Schiele Initialled S and dated, lower right Signed Egon Schiele and dated, lower right and dated, lower right 40.5 x 29 cm. and dated, centre right 44.5 x 30.5 cm. 56.5 x 37.5 cm. 16 x 11 ⅜ in. 47.2 x 31. 5cm. 17 ½ICHARD x 12 in. 22 ¼ x 14 ¾ in. AGYK D 839 TD18 ⅝ x 12 ⅜ in. RK D 499 K D 577a N L K D 887a

12 16 20 24 Seated Young Girl Standing Nudes Woman in Black Pinafore Gerti Schiele in Large Hat 1910 1911 1911 1910 Gouache, watercolour Pencil Gouache, watercolour Charcoal and pencil Signed Egon Schiele and pencil 44.5 x 31 cm. Initialled S and dated, lower left Signed Egon Schiele 17 ½ x 12 ¼ in. and dated, centre right 48.3 x 34.3 cm. and dated, centre right K D 545 41 x 28.5 cm. 19 x 13 ½ in. 48.6 x 31.7 cm. 16 ⅛ x 11 ¼ in. K D 855 19 ⅛ x 12 ½ in. K D 423 K D 888 25 29 33 37 Blonde Woman Dreaming Woman Man and Woman Standing Nude with Red Muff in Orange Stockings 1912 1913 1911 Pencil Gouache, watercolour 1914 Gouache, watercolour Signed Egon Schiele and pencil Gouache and pencil and pencil and dated, lower left Signed Egon Schiele and dated, Signed Egon Schiele Signed Egon Schiele 47.6 x 31.5 cm. centre right. Inscribed and dated, lower right and dated, centre right 18 ¾ x 12 ¾ in. Mann und Frau, centre right 47.5 x 27.9 cm. 44.7 x 30.4 cm. K D 1040a 47.6 x 30.8 cm. 18 ¾ x 11 in. 17 ⅝ x 12 ½ in. 18 ¾ x 12 ⅛ in. K D 1487 K D 866a K D 1457

26 30 34 38 Sleeping Girl Woman in Black Standing Nude Reclining Nude Stockings and Blue Jacket in Red Jacket 1911 with Raised Shirt Pencil 1913 1913 1914 Signed Egon Schiele Gouache and pencil Gouache, watercolour Pencil and dated, lower left Signed Egon Schiele and dated and pencil Signed Egon Schiele 46 x 29.5 cm. (vertically), upper right Signed Egon Schiele and dated, lower left 18 ⅛ x 11 ⅝ in. 31.4 x 48.3 cm. and dated, lower right 48.2 x 31.4 cm., 19 x 12 ⅜ in. K D 897 12 ⅜ x 19 in. 41.9 x 28 cm., 16 ½ x 11 in. K D 1552 K D 1249 K D 1370 (Verso K D 1647)

27 31 35 39 Reclining Woman Woman in Red Garters Wally Neuzil Kneeling Blonde Nude and Standing Nude in Blue Blouse 1913 1914 1912 Gouache, watercolour 1914 Gouache and pencil Gouache, watercolour and pencil Gouache and pencil Signed Egon Schiele and pencil Signed Egon Schiele 30.5 x 47.6 cm. and dated, lower right Signed Egon Schiele and dated, lower right 12 ⅛ x 18 ¾ in. 32.4 x 48 cm. and dated, lower right 48.3 x 31.8 cm. K D 1594a 12 ¾ x 18 ⅞ in. 47.3ICHARD x 31.7 cm. 19 x 12 ½ in. AGY TDK D 1481 R18 ⅝ x 12 ½ in. K D 1245 N L K D 1065

28 32 36 40 Girl in Blue Pinafore Wally Neuzil Reclining Woman Woman Removing in Black Stockings with Raised Skirt 1912 Green Stocking Waterclour and pencil 1913 1914 1914 Signed Egon Schiele Gouache, watercolour Gouache, watercolour Gouache and pencil and dated, lower left and pencil and pencil Signed Egon Schiele 47 x 30.5 cm. Signed Egon Schiele Signed Egon Schiele and dated and dated, lower right 18 ½ x 12 in. and dated, lower right (vertically), upper left 47 x 29.2 cm. K D 996 32.2 x 48 cm. 31.7 x 48.2 cm. 18 ½ x 11 ½ in. 12 ⅝ x 18 ⅞ in. 12 ½ x 19 in. K D 1591 K D 1240 K D 1547 41 45 49 53 Woman in Veil Nude on Hands Seated Nude Edith Schiele (née Harms) 1915 and Knees with Yellow Drape Crayon 1917 1917 1918 44.1 x 31.7 cm. Crayon Gouache and crayon Crayon 17 ⅜ x 12 ½ in. Signed Egon Schiele Signed Egon Schiele Signed Egon Schiele KD 1707 and dated, lower left and dated, lower right and dated, lower right 29.5 x 46 cm. 29 x 45.7 cm. 46.7 x 29.5 cm. 11 ⅝ x 18 ⅛ in. 11 ⅜ x 18 in. 18 ⅜ x 11 ⅝ in. K D 1919 K D 1948 K D 2226

42 46 50 54 Girl with Umbrella Girl in Underclothes Woman in Seated Woman Green Stockings with Crossed Legs 1916 1917 Gouache and pencil Crayon 1917 1917 Signed Egon Schiele Signed Egon Schiele Gouache and crayon Crayon and dated, lower right and dated, lower right Signed Egon Schiele Signed Egon Schiele 46.2 x 30.8 cm. 46 x 30 cm. and dated, lower right and dated, lower left 18 ¼ x 12 ⅛ in. 18 x 11 ¾ in. 46 x 29.5 cm. 30 x 44.8 cm. K D 1818a K D 1923 18 ⅛ x 11 ⅝ in. 11 ¾ x 17 ⅝ in. K D 1972 K D 1991

43 47 51 55 The Actress Reclining Nude with Girl in Blue Slip Kneeling Nude Raised Shirt and Garters Marga Boerner 1917 1918 1917 1917 Gouache, watercolour Crayon Crayon Charcoal and crayon Signed Egon Schiele Signed Egon Schiele and dated, Signed Egon Schiele Signed Egon Schiele and dated, lower right lower right. Autographed and dated, lower right and dated, lower left 45.5 x 29 cm. by the sitter, lower right 44.8 x 29.5 cm. 45.8 x 28.9 cm. 17 ⅞ x 11 ⅜ in. 38 xICHARD 24 cm., 15 x 9 ½ in. 17 ⅝ x 11 ⅝ in. AGY18 x11 ⅜ in. TDK D 2400 RK D 1903 K D 1930 N K D 1973 L

44 48 52 56 Adele Harms Nude in Fur Coat Adele Harms Woman in Boots with Dog (Lord) with Raised Skirt 1917 1917 1917 Crayon Crayon 1918 Crayon Signed Egon Schiele Signed Egon Schiele Crayon Signed Egon Schiele and dated, lower right and dated, lower right Signed Egon Schiele and dated, lower right 44.2 x 28.6 cm. 47 x 30 cm. and dated, lower right 29.8 x 46.3 cm. 17 ⅜ x 11¼ in. 18 ½ 11 ¾ in. 43.5 x 28 cm. 11 ¾ x 18 ¼ in. K D 1934a K D 1914 17 ⅛ x 11 in. K D 1916 K D 2418 There is someone who has gone beyond the call of duty, without whom this exhibition would be a pale shadow of its resultant splendour. Without the help, guidance and common sense she always brings to the table it may not have happened. I cannot thank enough my ever-loving Giovanna, who, while proof reading, can pick up an apostrophe in an incorrect font and who kept the whole project on the rails and on time.

With Thanks

Jill Lloyd Jane Kallir Nina Hartl Adam Prideaux, Blackwall Green RolloR Whately Ltd.ICHARD NAGY LTD Gino Franchi Brent Nicklas, Lexington Partners Stellar International Art Foundation Villa Grisebach, Berlin

And all the private collectors who have generously lent.

The following works were not exhibited: Design by James Robinson at Jalloro 5, 18, 22, 33, 35, 36, 42, 48, 49, 50, 51 Print production by Martin Lee

Reprographics and printing by Pureprint Group This catalogue accompanied an exhibition of the same using their pureprint® environmental print technology name which ran from 19th May - 30th June 2011 at Richard Nagy Ltd, 22 Old Bond Street, London, W1S 4PY ISBN: 978 - 0 - 9567977- 0 - 4