ERNST LUDWIG KIRCHNER Aschaffenburg 1880 - 1938 Frauenkirch bei Davos

NUDES ON THE BEACH OF FEHMARN, 1912 black crayon on paper, 585 x 460 mm verso: Estate stamp of Basel, Archive no. K Be/Bf 21

Provenance Private Collection, France PAUL KLEE Munichbuchsee/Bern 1879 - 1940 Muralto/Tessin

BAZAR, 1924 Pen and ink on paper laid down on the artist's mount, 186 x 226 mm Signed (upper right): Klee Titled, dated and numbered on the artist's mount: 1924, 28 Provenance Estate of the Artist - Lily Klee, Bern (by descent from the above in 1940) - Berggruen, Paris - Sale: Kunstkabinett, Stuttgart, 29th November 1955, lot 1393 - Roman Norbert Ketterer, Stuttgart (acquired in 1956) - Saidenberg Gallery, New York (acquired in 1956) - John Barclay Collection (from 1956) Sale: Klipstein & Kornfeld, Bern, 25-26th May 1962, lot 529 - James Wise & Berggruen, Paris - Flair Gallery, Cincinnati (acquired in 1967) - Galerie Beyeler, Basel - George Rickey, New York (acquired from the above) - sale: Hauswedell & Nolte, Hamburg, 10th June 2004, lot 331) - Private Collection (acquired from the above) - Sale: Christie's, New York, 7th November 2007, lot 156 - Purchased at the above sale by the late owner

Exhibition Bern, Kunsthalle, Gedächtnisausstellung Paul Klee, 1940, no. 211 Paris, Berggruen, Paul Klee, Aquarelles et dessins, 1953, illustrated in the catalogue Zurich, Galerie Renée Ziegler, Paul Klee, 1963, no. 12, illustrated in the catalogue New York, Solomon R. Guggenheim Museum; Philadelphia, Philadelphia Museum of Art (& travelling in the United States) Paul Klee 1879-1940: A Retrospective Exhibition, 1967-68, no. 67, illustrated in the catalogue

Literature The Artist's Handlist, 1924, no. 28. - Will Grohmann, Paul Klee Handzeichnung (1921-1931), Potsdam, 1934, no. 8, illustrated. - Will Grohmann, Paul Klee Handzeichungen, Cologne, 1959, pp. 27 & 172, illustrated p. 95. - The Paul Klee Foundation (ed.), Paul Klee Catalogue raisonné, Bern, 2000, vol. IV, no. 3396, illustrated p. 163 GUSTAV KLIMT 1862 - Vienna - 1918

RECLINING FEMALE FIGURE PROPPED UP ON HER ELBOWS, STUDY MADE IN CONNECTION WITH JUDITH II (SALOME), 1907/08 Pencil on paper, 373 x 559 mm Estate stamp on lower right Verso: inscribed in pencil: 66

Provenance Private collection, Salzburg

The painting Judith II, completed in 1909 (Judith I had been produced eight years earlier), was from an early date also known as Salome, a title that has now found general acceptance. In favour of this interpretation is the garishly exaggerated rendering of this Biblical femme fatale, a king’s daughter, from whose clenched fingers hangs the severed head of John the Baptist, after whom she had lusted in vain. In addition, the flimsy scarves spilling from her naked breast would appear to allude to the Dance of Seven Veils with which Salome had obtained her vile reward from her infatuated step-father, Herod. While in the seated, forward-bending half figure in the painting Klimt had hinted at the subject of the dance only through the abundance of colourfully ornamental veils, in the studies made in 1907/08 he went substantially further. Seeking to explore the Salome theme with a greater intensity, he had a slender model, with her hair pinned up into a bouffant wedge, adopt a variety of dance-like positions. By this means he repeatedly arrived at a highly refined alternation between fabrics, registered with animated linear structures, and naked limbs: a coquettishly raised leg, a bared shoulder, an elegantly bent arm or flexed wrist. It was within this context that the present drawing was made. But the model with the distinctive hair-do is not posed as a dancer. Klimt has apparently recorded her here “off duty”, in a relaxed, reclining posture, yet propped up on her elbows. His rapid notation of this pose may have challenged him to embark, in a most refined fashion, on playing distinctly separate forms off against empty spaces. Across the oblong drawing surface he plots various segments of space: the edge of the bed, the parallelogram formed by the line of the shoulders and that of the folded arms. These are then set into a thrilling visual dialogue with both the angular wedge of the model’s pinned-up hair and the undulating forms of the drapery around the lower half of her body. The balance, characteristic of Klimt, between a strict planarity and organically enlivened line, leaves its distinctive mark also upon this drawing, where the focus is on the model’s almost private glance at the draughtsman.

Marian Bisanz-Prakken (translated by Elizabeth Clegg)

Literature Alice Strobl: Gustav Klimt. Die Zeichnungen 1904 -1912. Vol. IV. Verlag Galerie Welz. Salzburg 1982, cat. rais. no. 3604. GUSTAV KLIMT 1862 - Vienna - 1918

STUDY FOR THE FACULTY PAINTING "JURISPRUDENZ", 1903-1907 Black crayon on paper, 450 x 318 mm estate stamp lower right

Provenance Estate of the Artist - Private Collection, Vienna

Literature Alice Strobl, Gustav Klimt. Die Zeichnungen 1878 - 1918, Nachtrag, Salzburg 1984, cat. rais. no. 3479a, ill. p. 121. GUSTAV KLIMT 1862 - Vienna - 1918

HALBAKT MIT ÜBER DEN KOPF VERSCHRÄNKTEN ARMEN (STUDIE FÜR "DIE BRAUT), blauer Farbstift auf Simili Papier, 560 x 370 mm

Provenance Sammlung R. Zimpel- Galerie Felix Landau, um 1949 - Sammlung Felix Landau - Nach Erbschaft in Familie Landau

Literature Strobl, Nachtrag, S. 206, WVZ Nr. 3734 GUSTAV KLIMT 1862 - Vienna - 1918

SITZEND NACH LINKS, DIE PELZBOA HERABHÄNGEND, Schwarze Kreide auf Papier, 450 x 320 mm

Provenance R. Zimpel collection - Felix Landau Gallery, um1950-55 - Sammlung Felix Landau - durch Erbschaft Privatsammlung

Literature Novotny-Dobai S. 336, Strobl Band II, S. 31, WVZ Nr. 1236. GUSTAV KLIMT 1862 - Vienna - 1918

STANDING WOMAN TURNED SLIGHTLY TO THE LEFT WITH A PATTERNED SHAWL (STUDY FOR THE PORTRAIT OF ELISABETH LEDERER), ca. 1916 Pencil on paper, 570 x 370 mm estate stamp (lower left)

Provenance Private Collection, Austria - Private Collection, Vienna

Exhibition Vienna, Christian Nebehay, 40 auserwählte Zeichnungen, 1960, cat. no. 37, ill.

Literature Fritz Novotny & Johannes Dobai: Gustav Klimt, Salzburg, 1967, p. 360 - Alice Strobl: Gustav Klimt, Die Zeichnungen 1912-1918, Salzburg, 1984, vol. III, cat. rais. no. 2516, ill. p. 97 GUSTAV KLIMT 1862 - Vienna - 1918

STUDY FOR THE PORTRAIT OF MAGDA MAUTNER-MARKHOF, 1904/05 Black crayon on paper, 550 x 350 mm lower right: estate stamp

Provenance Private Collection, Austria

Literature Alice Strobl, Gustav Klimt, Die Zeichnungen, vol. IV, Nachtrag, 1878-1918, Salzburg, 1989, cat. rais. no. 1220, p. 24. GUSTAV KLIMT 1862 - Vienna - 1918

STUDY FOR THE PORTRAIT OF AMALIE ZUCKERKANDL, 1914 Pencil on paper, 500 x 375 mm marked lower right: Estate of my brother Gustav Klimt

Provenance Johanna Staude, Vienna - Auction W. Ketterer, Munich - Private Collection, England - Private Collection, Vienna

Literature Alice Strobl, Gustav Klimt, Die Zeichnungen, Bd, II. 1912 - 18, Bildnis Amalie Zuckerkandl Frühe Studien, cat. rais. no. 2476. (Drawings, vol. II. 1912 - 18, Portrait of Amalie Zuckerkandl, early studies, cat. rais. no. 2476). GUSTAV KLIMT 1862 - Vienna - 1918

SEATED GIRL, STUDY FOR THE PORTRAIT OF MÄDA PRIMAVESI, 1913 Pencil on japanese simili paper, 559 x 367 mm

Provenance Felix Landau Gallery, Los Angeles - Private Collection, Los Angeles

Exhibition Internationale der Zeichnung, Sonderausstellungen Gustav Klimt und Henri Matisse, Darmstadt, Mathildenhöhe 1970, cat. no. 137 (ill.).

Mäda Primavesi was the daughter of the banker Otto Primavesi – one of the most important patrons of the Wiener Werkstätte – and his wife, Eugenia. Gustav Klimt, who had become a friend of the Primavesi family, painted in rapid succession a portrait of the nine- to ten-year-old Mäda and of her mother. Klimt’s portrait Mäda Primavesi, his only formally commissioned record of a child, was completed not long before Christmas 1913. Wearing a short white dress and with straddled legs, the girl poses against a brightly coloured background evocative of a fantastical landscape. As in the studies for his portrait of Mäda’s mother, Klimt endeavoured, through a series of sketches, to capture the essence of his young model, evidently making particular allowances for the child’s characteristic vivacity. He captures Mäda dressed for comfort and in all her naturalness as she adopts a number of different poses: seated with loosely dangling legs, viewed from the front and from the side, standing with her hands on her hips or hanging at her sides. With short pencil strokes, he registers the shifting facial expressions of this child with such a lust for life. In this study elements such as the strictly frontal presentation of the girl, whose glance is slightly raised, are offset by factors such as the loose strokes with which Klimt renders her shoulder-length hair, her dress slightly runched up above her knees, her folded hands or her dangling legs. Wilful geometric accents within the pattern of the dress – two powerful vertical lines and one horizontal – anchor the seated figure within the plane and maintain a lively dialogue with the animated structure of the fabric. Klimt pays more attention here than in his other drawings of Mäda to the cushions among which she sits: these are suggestive of a landscape, and this is perhaps already a hint at the solution he was eventually to adopt in his painting.

Marian Bisanz-Prakken (translated by Elizabeth Clegg)

Literature Alice Strobl: Gustav Klimt. Die Zeichnungen 1904 bis 1912. vol. II., Galerie Welz Salzburg 1982, p. 276, ill. p. 277, cat. rais. no. 2117a. GUSTAV KLIMT 1862 - Vienna - 1918

STUDY FOR THE PAINTING "ADELE BLOCHBAUER I" 1907, 1902/03 pencil on paper, 445 x 308 mm (4450 x 3080 mm)

Provenance Adele Bloch-Bauer, Vienna (Present from the Artist) - Luisa Gattin, Vienna (A. Bloch-Bauer´s niece) - Gallery C. Bednarczyk, Vienna

Literature A. Strobl, Gustav Klimt, Die Zeichnungen, vol. IV, Nachtrag, 1878-1918, Salzburg, 1989, no. 3531, illustrated p. 134 GUSTAV KLIMT 1862 - Vienna - 1918

UNTERARM MIT PFEIL UND BOGEN, ARM UND DREI FUßSTUDIEN (STUDIEN FÜR DIANA), Belistift, weiß gehöht auf Papier, 450 x 310 mm

Provenance Sammlung R. Zimpel - Felix Landau Gallery, um 1950-55 - Sammlung Felix Landau - durch Erbschaft Privatsammlung, Schweiz

Literature Frodl 1978, S. 28., Strobl Bnd I, S. 53, Abb. WVZ Nr. 141 GUSTAV KLIMT 1862 - Vienna - 1918

ZWEI ARM- UND EINE HANDSTUDIE FÜR DEN VIOLINSPIELER DES DECKENBILDES "DER TANZ", Schwarze Kreide, weiß gehöht auf Papier, 450 x 310 mm

Provenance R. Zimpel collection - Felix Landau Gallery, Los Angeles c.1950-55 - Sammlung Felix Landau

Literature Novotny-Dobai S. 286 - Strobl Bnd. I, S. 52, WVZ Nr. 138 OSKAR KOKOSCHKA Pöchlarn/Niederösterreich 1886 - 1980 Montreux/Schweiz

MÄDCHENAKT MIT UMGEHÄNGTEM MANTEL, 1907 Bleistift und Aquarell auf Papier, 454 x 316 mm

Provenance aus dem Besitz von Hans Strohofer (1885-1961), einem Studienkollegen von Oskar Kokoschka an der Wiener Kunstgewerbeschule - 1961 bis 1979 durch Erbfolge im Eigentum der Tochter Hans Strohofers - Hassfurther Wien, 26. 05. 1979, Nr. 160, Farbtafel XIV - Hassfurther Wien, 31. 03. 1984, Nr. 68, Farbtafel 13 - seit 1984 in deutschem Privatbesitz

Als zwanzigjähriger begann Oskar Kokoschka eine Ausbildung an der Wiener Kunstgewerbeschule unter Otto Czeschka. Er konzentrierte sich von Beginn an auf Akt- und Bewegungsstudien und erhielt im folgenden Sommersemester 1907 ein eigenes Atelier. Dort hatte er die Möglichkeit „ Kinder einer Zirkusfamilie, die im Winter vom Modellstehen lebten, in den verschiedenen Drehungen und Regungen des Körpers in der Bewegung, zu zeichnen.“ (Oskar Kokoschka, Mein Leben, München 1971, S 50f) Im selben Jahr fand in der Galerie Miethke eine Paul Gauguin Ausstellung statt. Exotische Gesichtszüge und lose den Körper nur teilweise verdeckende Tücher finden sich auch in Kokoschkas Zeichnungen wieder, wie die vorliegende Darstellung zeigt.

Der lässig über die Schulter geworfene Mantel bzw. Umhang weist modische Details im doppelten Kragen und in einer erkennbaren Schnittführung auf. Durch die flächig abstrahierte Darstellung und die einheitliche blaue Farbe erscheint das Gewand wie eine Kollage und hebt sich von der zarten Linie der noch knabenhaften Mädchengestalt ab. Für den Körper verwendet Kokoschka die Farbe ganz sparsam. Das Inkarnat hat an manchen Stellen einen Hauch von Rosa und das Braun der Haare findet sich zur Akzentuierung im Gesicht auf der Brust und auf den Zehen wieder. Dadurch stellt er die Gestalt prägnant in den Bildraum.

In dieser aquarellierten Darstellung eines stehenden Mädchens ging Kokoschka mit seiner künstlerischen Ausdrucksweise bereits in eine völlig neue Richtung, die dem politischen und sozialen Zeitgeist entsprach. Keine verbindliche, allgemeingültige Stilisierung im Sinne von geltenden Schönheitsidealen, sondern die individuelle Berufung, die innere Notwendigkeit als Ausdruck einer künstlerischen Eigenständigkeit war sein Anliegen. Dieses Heraustreten aus der damals üblichen starren naturalistischen Wiedergabe des menschlichen Körpers war Kokoschkas erster Schritt zu einer expressionistischen Kunst. In seinen spontanen Bewegungsstudien entwickelte er einen ganz eigenen Zeichenstil. Die vorliegende Arbeit zeigt einen Stilwandel, der für Kokoschkas weiteres Oeuvre charakteristisch ist. Erkennbar ist dies durch erste Ansätze zu einer akzentuierten eckigen Körpergestaltung. Die herbe Anmut und kultische Anmutung der Darstellung ist richtungsweisend für die Illustrationen zu seiner ersten Dichtung "Die Träumenden Knaben" (1908) und zeigt sich auch in seinem Plakat für die Kunstschau 1908 ("Die Baumwollpflückerin"), wo Oskar Kokoschka im selben Jahr erstmals öffentlich ausstellte. (Christa Armann)

Literature Weltkunst, 49. Jg., Nr. 9, München, 01. 05. 1979, S. 1173 (Farbabb.) - Werner J. Schweiger, Der junge Kokoschka. Leben und Werk 1904-1914, Wien / München 1983, Farbabb. S. 101 - Alice Strobl, Alfred Weidinger, Oskar Kokoschka. Zeichnungen und Aquarelle aus dem Frühwerk (1897/98-1917), in: Ausst.- Kat. Albertina, Wien 1994, S. 15 - Alfred Weidinger, Oskar Kokoschka. Träumender Knabe und Enfant Terrible 1897/98 bis 1910, Dissertation, Salzburg 1997, S. 69, Abb. 149 - Heinz Spielmann, Oskar Kokoschka. Leben und Werk, Köln 2003, Abb. S. 64 - Alfred Weidinger, Alice Strobl, Oskar Kokoschka. Die Zeichnungen und Aquarelle 1897-1916, Salzburg 2008, WV-Nr. 143, sw-Abb. S. 84 OSKAR KOKOSCHKA Pöchlarn/Niederösterreich 1886 - 1980 Montreux/Schweiz

STANDING GIRL, 1907 Watercolour and pencil on paper, 419 x 311 mm signed lower right: OK

Dr. Alfred Weidinger has confirmed the authenticity of this watercolor, and will include it in his forthcoming catalogue raisonné of the artist's work.

Provenance Mr. and Mrs. Paul Stern, New York ALFRED KUBIN Leitmeritz/Böhmen 1877 - 1959 Zwickledt bei Wernstein am Inn

KAMELREITER, c. 1905 Paste-paint (gouache, watercolour, gum Arabic and pastel) on paper, 294 x 254 mm signed lower right: AKubin

Dr. Annegret Hoberg, Kubin-Archiv, Städtische Galerie im Lenbachhaus, Munich, has confirmed the authenticity of this work.

Provenance Maximilian Morgenstern, Vienna, by whom acquired from the artist, and thence by descent to the present owner. ALFRED KUBIN Leitmeritz/Böhmen 1877 - 1959 Zwickledt bei Wernstein am Inn

HODGEPODGE HOUSE, c. 1905/10 Watercolor and gouache, white heightening, pen and ink on paper, 390 x 316 mm Signed (lower right): AKubin Titled (lower left): Verbautes Haus

Dr. Annegret Hoberg, Kubin-Archiv, Städtische Galerie im Lenbachhaus, München, authenticated the work.

Provenance private collection, Switzerland

As the title of this graphic work conveys, it is impossible to view this architecture as a realistic building. It is a stacked combination of two completely different edifices with the center of the upper “castle” left ambiguous, preventing definition of the building’s separate parts. Also at the upper building’s center, placed directly on the roof of the lower house and receding backward, there are further castle-like elements. At the front, an unusual combination of structures could be idiosyncratic chimneys or, viewed in its entirety, even a vast human figure, clad in a hooded cloak and holding a heavy staff that cannot be closely identified. This mish-mash castle, together with this apparition, seems in some way to have descended on the house below. These architectural forms appear to have a life of their own and grow independently, guided by their own creative energies that are ultimately more capable than human hands of producing such a “hodgepodge house.” In the foreground on the left, the tree witnesses these unusual goings-on, its agitated branches protruding into the ominous cloud formations in the sky. Or perhaps the tree is the conductor behind it all, combining the architectural components for their performance. People obviously have no place here, and can, at best, experience this evocative vision from a distance.

Peter Assmann

Literature Alfred Kubin, W&K Edition 2014, exh.cat. Shepherd W&K Galleries New York p. 49. ALFRED KUBIN Leitmeritz/Böhmen 1877 - 1959 Zwickledt bei Wernstein am Inn

BRICKWORKS, c. 1902/03 Ink, spray and wash, charcoal, and white heightening on land register paper, 236 x 173 mm signed lower right: Kubin Titled in another hand on verso: Ziegelei Embossed stamp “Gauss,” 2nd embossed stamp

Dr. Annegret Hoberg, Kubin-Archiv, Städtische Galerie im Lenbachhaus, Munich, has confirmed the authenticity of this work.

Provenance Galerie Würthle, Vienna – Berggruen collection, Paris – Galerie Hilger, Vienna

This brickworks factory looks utterly abandoned, placed in the midst of a nondescript, flat landscape. In the foreground there is a cart, its shaft pointing upward like a warning finger. The kiln’s vast chimney soars into the sky beyond the picture’s boundaries. Further indistinct and unidentifiable vertical accents can be seen in the background. However, there is not the faintest glimmer of activity in the factory buildings.

In the last years of the nineteenth century, Alfred Kubin was well known on the Munich art scene as a self-styled bohemian, artist-philosopher – clad in black, melancholic, cosmopolitan. As the years went by, however, he grew tired of city life and became more interested in the connection between his pictorial visions, fed by his avid interest in literature and art, and everyday scenes or landscape impressions. In 1906, with his new bride, he took the plunge and moved to the rural isolation of Zwickledt “Castle” in Wernstein am Inn, close to the town of Passau on the Austrian-German border.

Peter Assmann

Literature Alfred Kubin zum 100. Geburtstag: Unveröffentlichte Zeichnungen und Aquarelle aus Privatbesitz, Kulturhistorisches Museum, Bielefeld, 1977, fig. no. 6., vom Sammler „1966 bei Gauss erworben”. Der ungenannte Sammler hatte sich „bereits seit längerem von seinen Stücken getrennt.“ Acquired in 1966 from Gauss “by the collector.” The unnamed collector had “parted from his objects quite some time ago.” – Klimt Schiele Ensor Kubin, Künstler der Jahrhundertwende (Zurich: Knoedler and Vienna: Würthle, 1983), fig. p. 262. – Alfred Kubin, Vingt Dessins (Paris: Berggruen, 1986), cat. no. 4. Alfred Kubin, W&K Edition 2014, exh.cat. Shepherd W&K Galleries New York p.29. AMEDEO MODIGLIANI Livorno, Italien 1884 - 1920 Paris, Frankreich

KNEELING FEMALE NUDE, 1915-1918 Pencil on Paper, 354 x 235 mm

Provenance Werner Collection, Vienna

Exhibition Schönheit aus der Hand, Schönheit durch die Maschine, Städtische Kunsthalle Recklingshaus 14. June - 27. July 1958, no. 39. (ill.) - Französische Zeichnungen des XX. Jahrhunderts, Kunsthalle Hamburg, 3. September - 15. November 1959. (no. 232)

Literature Schönheit aus der Hand, Schönheit durch die Maschine - exh.cat. Städtische Kunsthalle Recklinghausen no. 39 (ill.), Verlagsdruckerei Aurel Bogens, Recklinghausen, 1958. - Französische Zeichnungen des XX. Jahrhunderts, exh.cat. Hamburger Kunsthalle, 1959, no. 232, p. 25. EGON SCHIELE Tulln 1890 - 1918 Vienna

NUDE WITH RAISED KNEE, 1918 Black crayon on paper, 295 x 430 mm Signed and dated on lower left: EGON SCHIELE

Provenance Galerie Bruckmann, Munich - Estate of Eberhard von Hanfstaengl

Literature Kallir, Jane. Egon Schiele: The Complete Works. Including a Biography and a Catalogue Raisonné, New York, 1990 and 1998, p.678, cat.rais.no. 2253a EGON SCHIELE Tulln 1890 - 1918 Vienna

CROUCHING FEMALE NUDE, 1914 Gouache, watercolour and black crayon on paper, 310 x 480 mm Signed and dated on lower right: Egon Schiele 1914 Provenance Serge Sabarsky, New York - Private Collection, New York - Sale: Sotheby's, London, 21st June 2004, lot 34 - Purchased at the above sale by the present owner

Exhibition Los Angeles, Felix Laundau Gallery, Egon Schiele 1890 - 1918, Paintings, Watercolors and Drawings, 1967, no. 34, illustrated in the catalogue Chicago, Art Institute of Chicago; Colombus, Colombus Gallery of Fine Arts & Des Moines, Des Moines Art Center, Egon Schiele and the Human Form: Drawings and Watercolors, 1971-72, no. 40, illustrated in the catalogue - Munich, Haus der Kunst, Egon Schiele, 1975, no. 217, illustrated in the catalogue - Seibu, The Seibu Museum of Art, Egon Schiele, 1979, no. 53, illustrated in the catalogue - Vienna, Historisches Museum der Stadt Wien; Linz, Neue Galerie der Stadt Linz; Munich, Museum Villa Stuck & Hannover, Kestner-Gesellschaft, Egon Schiele, Aquarelle und Zeichnungen, 1981-1982, no. 82, illustrated in the catalogue - Rome, Pinacoteca Capitolina & Venice, Galleria Internazionale d'Arte Moderna, Egon Schiele, no. 134, illustrated in the catalogue - Vienna, Akademie der bildenden Künste; Milan, Accademia di Belle Arti di Brera; Palermo, Villa Zito; Tel Aviv, Tel Aviv Museum (& travelling), Egon Schiele: Vom Schüler zum Meister, Zeichnungen und Aquarelle 1906-1918, 1984-85, no. 77 illustrated in colour in the catalogue - Vienna, Bawag Foundation (& travelling), Egon Schiele: 100 Zeichnungen und Aquarelle, 1988-97, no. 73, illustrated in colour in the catalogue - Zurich, Hauser & Wirth, Egon Schiele: Arbeiten auf Papier, 1994, illustrated in colour in the catalogue Tokyo, Egon Schiele, Seibu Museum of Art, April 27-June 6, 1979, fig. 53.

Literature Rudolf Leopold, Egon Schiele, Gemälde, Aquarelle, Zeichnungen, Salzburg, 1972, illustrated p. 585 - Serge Sabarsky, Egon Schiele, Disegni erotici, Milan, 1981, illustrated p. 29 - Serge Sabarsky, Egon Schiele, Watercolors and Drawings, New York, 1983, illustrated p. 29 - Serge Sabarsky, Egon Schiele, Milan, 1984, no. 134, illustrated in colour n.p. - Annette Vogel, Egon Schiele, Arbeiten auf Papier, Zurich, 1994, illustrated in colour p. 81. - 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. - Jane Kallir, Egon Schiele. The Complete Works, New York, 1998, no. 1561, illustrated p. 530. - Nassau County Museum of Art, Serge Sabarsky, Egon Schiele 1890-1918, A Centennial Retrospective, Stuttgart 1990. EGON SCHIELE Tulln 1890 - 1918 Vienna

NUDE GIRL, 1911 Pencil on paper, 543 x 346 mm Signed and dated on right center: EGON SCHIELE 1911 Verso: FEMALE NUDE, 1911

The work will be included in the forthcoming catalogue raisonné by Jane Kallir as numbers D. 902a and 902b.

Provenance Private collection, New York

Literature The work will be included in the forthcoming catalogue raisonné by Jane Kallir as numbers D. 902a and 902b. EGON SCHIELE Tulln 1890 - 1918 Vienna

SEATED WOMAN, 1916 Pencil on paper, 45.2 x 28.8 cm Signed and dated at lower right: EGON / SCHIELE / 1916, within a rectangle

Provenance Galerie Würthle, Vienna, - C.I. Rittmannsberger collection, Vienna.

This sheet, dated 1916, reveals at a glance how very different Schiele’s work as a figure draughtsman had become by the mid- point of the Great War. While apparently unmoved by the advent of hostilities in the summer of 1914, and indeed not initially classified as “fit for active service”, Schiele had, within ten months, been constrained to enlist – he was to serve, in various provincial locations, as an “office soldier” – and was able to resume a semblance of his pre-War pattern of life and work in Vienna only when transferred to a post there in January 1917. Of the earlier War years, 1916 was in fact to prove Schiele’s least artistically productive. And it would not be unreasonable to understand this period as one in which he “retreated” from the bold formal experiments of 1914, led by a combination of circumstance and a sense of resignation to invest, instead, in the joys of “verisimilitude”. A parallel, and rather more positive, account of the same period might centre around the ostensible subject of this drawing: the woman whom Schiele first met during the course of 1914 and married the following summer, Edith, née Harms. While Schiele’s army duties were to prove inimical to the couple’s happiness during the first year of their marriage, a period of relative “domestic bliss” was vouchsafed to them in May 1916, when Schiele was transferred to a post at an army encampment in “idyllic” Mühling and he and Edith were able to make their home in a nearby cottage. In almost all of Schiele’s drawn and painted records of her, the prudish Edith is clothed, the first of his two paintings (1915) being as much a record of her distinctive home-made striped gown as of its doll-like wearer (Kallir, cat. rais. no. P 290). Two preparatory black crayon sketches for that canvas do, however, achieve a much more satisfactory integration of figure and costume, while also hinting at Schiele’s genuine fascination with the visual complexity of the striped fabric in its cut, gathers and folds (Kallir, cat. rais. nos. D 1719; D 1720). While not explicitly identified as a record of Edith, our 1916 drawing has much in common with several others from this year that are so designated.3 the face, as was indeed often Edith’s express wish, is there concealed (as also in our sheet); but the sitter is in each case identifiable through her costume. In our Seated Woman, as if savouring the visual density of material reality, Schiele pores over minor sartorial details: the precise construction of the suspenders, the frilled edges of the undergarments. But the image as a whole is energised through a far more vigorous treatment of the dress, the head and the limbs. Closer inspection reveals, nonetheless, that Schiele’s model – be it at his request or at her own insistence – has here settled for adopting an approximation of the requisite pose but has stopped short of simulating any relevant action. Her right leg is raised, its ankle resting on her left knee, and the stockinged thigh is exposed, but the hands do not engage.

3 Woman with Raised Skirt (Edith Schiele), Kallir, cat. rais. no. D 1826, or Woman Adjusting Her Stockings (Edith Schiele), Kallir, cat. rais. no. D 1828.

Elizabeth Clegg

Literature Jane Kallir, Egon Schiele: The Complete Works, New York, 1990, cat. rais. no. 1825, illustrated p. 561.