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Master Drawings 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.
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