Austrian painter Egon Schiele, born in 1890, was known for his explicitly sexual and sometimes macabre paintings. Egon Schiele's paintings, both modeled and self-portraiture, were erotic, and he often drew his subjects in revealing poses. Drawings by Egon Schiele highlighted his graphic style by focusing on the contours and unconventional beauty of his subjects. His goal was to show the inner psyche of his subjects through his paintings, showcasing their scars and imperfections in a raw way.
Egon Schiele's artwork displayed a lack of secondary attributes, adding to the psychological aspect of his pieces and creating room for viewers to develop their own ideas. Expressionist Egon Schiele's paintings showed increased maturity after he got married in 1915, at which point he began leaning more toward realism. Browse other nude paintings for sale online and pick out the next figural piece for your gallery.
EGON SCHIELE (Tulln at the Danube 1890 - 1918 Vienna) Portrait of Arthur Rössler, 1914 drypoint/paper 24 x 31,7 cm edition by Otto Kallir, 1969 verso monogrammed and dated OK 1969, and numbered 4/80, magnificent print provenance collection Chrastek, Vienna SCHÄTZPREIS / ESTIMATE € 2000 - 4000 STARTPREIS / STARTING PRICE € 2000 Egon Schiele began studying painting at the Academy of Fine Arts in Vienna in 1906, when he was just 16 years old. Two years later he left the academy because the rigid curriculum restricted him too much and founded the "Neukunstgruppe" (Anton Peschka Anton Faistauer, Rudolf Kalvach, Hans Böhler, Erwin Osen, Franz Wiegele, Robin Christian Andersen, Arthur Löwenstein; later also Oskar Kokoschka, Karl Hofer, Sebastian Isepp, Albert Paris Gütersloh and Anton Kolig); in the same year he had his first public exhibition. Contact with Gustav Klimt had an early formative influence. The move away from Art Nouveau and the increasing turn to Expressionism was triggered by his friendship with Max Oppenheimer. In 1909, the art critic and journalist Arthur Roessler recognized Schiele's importance. As a result, he promotes the young artist, introduces him to the Viennese collecting circles and gives him his first commissions. Schiele was also represented in Roessler's own collection with an excellent selection of works. In 1911 Schiele lived in Krumau and then in Neulengbach. His nudes led to a conviction for “disseminating indecent drawings” and a 24-day prison sentence that same year. In 1912 Schiele moved back to Vienna. His career developed continuously and was abruptly interrupted in 1918 by his early death from the Spanish flu, to which Schiele's wife Edith also succumbed. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked ° at the estimate), a premium of 24% is added to the highest bid. The mandatory sales tax is added to the sum of the highest bid and the buyer's premium. This amounts to 13% for paintings, drawings, graphic works and sculptures and 20% for photographs and all other items. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
EGON SCHIELE (Tulln at the Danube 1890 - 1918 Vienna) Self-Portrait, around 1917 bronze 28 x 16,5 x 21 cm punchline on the side: Egon Schiele IX/XXX (C) 1980 punchline below: Venturi Arte Edition IX/XXX, Copyright 1980 byn Venturi Arte SCHÄTZPREIS / ESTIMATE € 2000 - 3000 STARTPREIS / STARTING PRICE € 2000 Egon Schiele began studying painting at the Academy of Fine Arts in Vienna in 1906, when he was only 16 years old. Two years later he left the academy because the rigid curriculum restricted him too much and founded the "Neukunstgruppe" (Anton Peschka Anton Faistauer, Rudolf Kalvach, Hans Böhler, Erwin Osen, Franz Wiegele, Robin Christian Andersen, Arthur Löwenstein; later also Oskar Kokoschka, Karl Hofer, Sebastian Isepp, Albert Paris Gütersloh and Anton Kolig); In the same year he had his first public exhibition. Contact with Gustav Klimt had an early formative influence. The move away from Art Nouveau and the increasing turn to Expressionism was triggered by his friendship with Max Oppenheimer. In 1911 Schiele lived first in Krumau and then in Neulengbach. His nude depictions led to a conviction for “disseminating indecent drawings” and a 24-day prison sentence that same year. In 1912 Schiele moved back to Vienna. His career developed continuously and was abruptly interrupted in 191Egon Schiele began studying painting at the Academy of Fine Arts in Vienna in 1906, when he was just 16 years old. Two years later he left the academy because the rigid curriculum restricted him too much and founded the "Neukunstgruppe" (Anton Peschka Anton Faistauer, Rudolf Kalvach, Hans Böhler, Erwin Osen, Franz Wiegele, Robin Christian Andersen, Arthur Löwenstein; later also Oskar Kokoschka, Karl Hofer, Sebastian Isepp, Albert Paris Gütersloh and Anton Kolig); in the same year he had his first public exhibition. Contact with Gustav Klimt had an early formative influence. The move away from Art Nouveau and the increasing turn to Expressionism was triggered by his friendship with Max Oppenheimer. In 1909, the art critic and journalist Arthur Roessler recognized Schiele's importance. As a result, he promotes the young artist, introduces him to the Viennese collecting circles and gives him his first commissions. Schiele was also represented in Roessler's own collection with an excellent selection of works. In 1911 Schiele lived in Krumau and then in Neulengbach. His nudes led to a conviction for “disseminating indecent drawings” and a 24-day prison sentence that same year. In 1912 Schiele moved back to Vienna. His career developed continuously and was abruptly interrupted in 1918 by his early death from the Spanish flu, to which Schiele's wife Edith also succumbed.8 by his early death from the Spanish flu, to which Schiele's wife Edith also succumbed. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked ° at the estimate), a premium of 24% is added to the highest bid. The mandatory sales tax is added to the sum of the highest bid and the buyer's premium. This amounts to 13% for paintings, drawings, graphic works and sculptures and 20% for photographs and all other items. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
EGON SCHIELE (Tulln at the Danube 1890 - 1918 Vienna) Portrait Franz Hauer, 1914 drypoint/paper 13 x 11 cm edition by Otto Kallir, 1969 verso monogrammed and dated OK 1969, and numbered 59/60, magnificent print provenance collection Chrastek, Vienna SCHÄTZPREIS / ESTIMATE € 1600 - 3000 STARTPREIS / STARTING PRICE € 1600 Egon Schiele began studying painting at the Academy of Fine Arts in Vienna in 1906, when he was just 16 years old. Two years later he left the academy because the rigid curriculum restricted him too much and founded the "Neukunstgruppe" (Anton Peschka Anton Faistauer, Rudolf Kalvach, Hans Böhler, Erwin Osen, Franz Wiegele, Robin Christian Andersen, Arthur Löwenstein; later also Oskar Kokoschka, Karl Hofer, Sebastian Isepp, Albert Paris Gütersloh and Anton Kolig); in the same year he had his first public exhibition. Contact with Gustav Klimt had an early formative influence. The move away from Art Nouveau and the increasing turn to Expressionism was triggered by his friendship with Max Oppenheimer. In 1909, the art critic and journalist Arthur Roessler recognized Schiele's importance. As a result, he promotes the young artist, introduces him to the Viennese collecting circles and gives him his first commissions. Schiele was also represented in Roessler's own collection with an excellent selection of works. In 1911 Schiele lived in Krumau and then in Neulengbach. His nudes led to a conviction for “disseminating indecent drawings” and a 24-day prison sentence that same year. In 1912 Schiele moved back to Vienna. His career developed continuously and was abruptly interrupted in 1918 by his early death from the Spanish flu, to which Schiele's wife Edith also succumbed. PLEASE NOTE: The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked ° at the estimate), a premium of 24% is added to the highest bid. The mandatory sales tax is added to the sum of the highest bid and the buyer's premium. This amounts to 13% for paintings, drawings, graphic works and sculptures and 20% for photographs and all other items. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.
(Tulln 1890–1918 Vienna) Männlicher Akt mit hinter dem Kopf verschränkten Armen (Seated male nude with hands clasped behind neck), 1909, initialed S, pencil on paper, 33 x 29.5 cm Listed and illustrated: Jane Kallir, Egon Schiele. The complete works, New York 1990, cat. rais. no. D 332 Provenance: Private Collection, Vienna Exhibition: Linz, Egon Schiele, Neue Galerie der Stadt Linz, March 1949, cat. no. 54
(Tulln 1890–1918 Vienna) Sitzender männlicher Akt (Seated male nude), signed and dated SCHIELE EGON 08, on the reverse study of a Seated old Lady, signed and dated SCHIELE EGON 08, both pencil on paper, 30 x 45 cm, framed Listed and illustrated: Jane Kallir, Egon Schiele. The complete works, New York 1990, cat. rais. no. D 232 and D 175 (reverse) Provenance: Karl Hayd (1882–1945), directly acquired from the artist Private Collection, Austria Literature: Alte und Moderne Kunst, 1967, p. 33
(Tulln 1890–1918 Vienna) „Gertrudenkapelle in Klosterneuburg” (St. Gertrud chapel in Klosterneuburg, Austria), titled and signed SCHIELE, c. 1907, watercolour on paper, image size 28.8 x 18.5 cm, paper size 32 x 21.5 cm, framed Provenance: Private Collection, Vienna by descent to the present owner Private Collection, Lower Austria We are grateful to Jane Kallir for confirming the authenticity of this work in original. It will be included in the work catalogue.
(Tulln 1890–1918 Vienna) Sitzendes Mädchen mit Haarschleife (Seated girl with hair ribbon), signed and dated EGON SCHIELE 1917, gouache and charcoal on paper, 46 x 28.6 cm, framed Listed and illustrated: Jane Kallir, Egon Schiele. The complete works, New York 1990, cat. rais. no. 1878, ill. p. 568 Provenance: with Serge Sabarsky, New York Private Collection, Vienna since c. 1980, thence by descent Exhibition: Tokyo, The Seibu Museum of Art, 27 April – 6 June 1979, no. 60, ill. London, Marlborough Fine Art Ltd., June – August 1979, no. 51, ill. “Girl with Blue Ribbon” is one of the few drawings that Egon Schiele coloured in a special technique during his final years. In its strictly vertical composition against a blank background, this piece stands out in its clarity and affectless depiction of existence as one of his most remarkable portrayals of children. The child appears throughout all phases of Egon Schiele's work. Similar to the German Expressionists of the “Brücke” group, he had a strong interest in viewing the child not just in its innocent play as seen in the 19th century, but in focusing on its body and behaviour. In his early years as a painter, it was mostly children from poor backgrounds who modeled for him, where an sensual aspect cannot be denied. However, with the beginning of his relationship and later marriage to Edith Harms in 1915, the personality of the child itself and formal aspects, became the focus. From 1916 onwards, the catalogue of Schiele’s works frequently included portrait drawings of his patrons’ children in the typical fashion of the time. Only his nephew Anton Peschka and a few unidentified children were drawn in their natural nakedness. With the marriage of his sister Gerti and her subsequent motherhood, Schiele seems to have gained a new personal connection to the nature of the child. He was now fascinated by the child’s charm, their open gaze, and their natural, uninhibited approach to their own body. The child’s independent yet simultaneously untouchable personality is now the essence of his images. The girl sits attentively, returning the viewer’s gaze with large dark brown eyes, which are serious but without sadness, watchful but without suspicion, confident but without desire. With bold strokes of his black charcoal pencil, the artist brings the girl’s contours out of the white background so decisively that no further accessories are needed. Schiele’s mastery of omission strips his figures of any reference to a specific time or place, and we also know nothing about this girl’s name or age. It is thus not so much a portrait, more an image of a girl in general – one who enjoys adorning her slightly disheveled short hair with a dark blue ribbon and who sees her nudity as a natural state of being – instinctively covering her private area by slightly bending her leg. One of the unique aspects of this piece is the painting technique Schiele applies here: by 1914, he had begun applying colour in a peculiar, scratch-like technique. He may have been influenced by drypoint etching, as this kind of hatching is typically used by printmakers to suggest volume. These fine lines of color give the image a lively, yet self-contained dynamism.
(Tulln 1890–1918 Vienna) Zwei weibliche Akte (Two female nudes), signed and dated EGON SCHIELE 1918, black crayon on paper, 29.5 x 46 cm, framed Listed and illustrated: Jane Kallir, Egon Schiele. The complete works, New York 1990, cat. rais. no. D 2272, ill. p. 614 Provenance: Sale, Stuttgarter Kunstkabinett, May 5, 1962, Lot 1060 Collection of Gertrud Pfatschbacher (1921–2009), Linz by descent Private Collection, Austria "For the draftsman Schiele, his unique exceptional position within Expressionism is beyond question. No one else has shaped the line with such virtuosity and expressiveness at the same time: cuttingly sharp and pliant – constructive or fragile – brittle, nervous, as if scribbling or tense – intermittent or forcefully sweeping.“ (Rudolf Leopold) This particular drawing of two female nudes reclining crosswise on top of each other represents one of the most outstanding depictions within a larger thematic complex of female bodies that Egon Schiele explored intensively in 1917. Shortly before, newly married and more established in his career, he had decisively changed his working technique. Schiele could now afford to hire professional models who, compared to the past, inspired him less toward erotic expression and more toward a new fascination with the beauty of the female form. Pain and insecurity are now replaced by expressive power and formal beauty, jagged, restless lines give way to a continuous line of convincing elegance. With nothing but a broad, black charcoal pencil, he outlines the bodies, and with a fantastic certainty of line, he gives them an incomparable plasticity and spatial presence.
AFTER EGON SCHIELE (1890-1918) Egon Schiele, 1890-1918 Unique portfolio posthume autorisé par les héritiers de l'artiste. Ensemble de 10 lithographies issues d'oeuvres originales tirées au format original des oeuvres. Numéroté 329/600. Ed. Siedler Wien. Vendu avec son certificat Unieke postume portfolio toegestaan door de erfgenamen van de kunstenaar. Set van 10 lithografieën van originele werken gedrukt in het originele formaat van de werken. Genummerd 329/600. Ed. Siedler Wien. Verkocht met certificaat Unique posthumous portfolio authorised by the artist's heirs. Set of 10 lithographs from original works printed in the original format of the works. Numbered 329/600. Ed. Siedler Wien. Sold with its certificate 34 x 23 cm (13 3/8 x 9 1/16 in) 30.5 x 21.5 cm (11 13/16 x 8 1/4 in) 44.5 x 28.5 cm (17 5/16 x 11 in) 45.5 x 29 cm (17 11/16 x 11 7/16 in) 29 x 46 cm (11 7/16 x 18 1/8 in) 44 x 30.5 cm (17 5/16 x 11 13/16 in) 29 x 45.5 cm (11 7/16 x 17 11/16 in) 44 x 30 cm (17 5/16 x 11 13/16 in) 45 x 30.5 cm (17 11/16 x 11 13/16 in) 50 x 40 cm (19 11/16 x 15 3/4 in)(sheet) 48 x 32 cm (18 7/8 x 12 5/8 in)(image)
Egon Schiele, attributed, ink drawing, ca 30x21cm. Egon Leo Adolf Ludwig Schiele was an Austrian Expressionist painter. His work is noted for its intensity and its raw sexuality, and for the many self-portraits the artist produced, including nude self-portraits. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism. Gustav Klimt, a figurative painter of the early 20th century, was a mentor to Schiele.
Egon Schiele, attributed, ink drawing, ca 30x21cm. Egon Leo Adolf Ludwig Schiele was an Austrian Expressionist painter. His work is noted for its intensity and its raw sexuality, and for the many self-portraits the artist produced, including nude self-portraits. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism. Gustav Klimt, a figurative painter of the early 20th century, was a mentor to Schiele.
Egon Schiele, attributed, ink drawing, ca 30x21cm, hand signed, Egon Leo Adolf Ludwig Schiele was an Austrian Expressionist painter. His work is noted for its intensity and its raw sexuality, and for the many self-portraits the artist produced, including nude self-portraits. The twisted body shapes and the expressive line that characterize Schiele's paintings and drawings mark the artist as an early exponent of Expressionism. Gustav Klimt, a figurative painter of the early 20th century, was a mentor to Schiele.
Egon Schiele. Limited edition , 38x28cm, phototype heliogravure,exceptional quality and size (38x28.5 cm) by Arts Edition Impression Ars Longa Vita Brevis
lithograph, signed and dated in pencil, from the edition of 200 (there were also 15 proofs on Japon), on yellowish wove paper, published by Sema, Munich, framed
"Woman with Black Stockings" by Egon Schiele, 1994 Unsigned Offset Lithograph. Paper size is 23.75 x 27.5 inches, with an image size of 17.5 x 26 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: In Woman with Black Stockins, the painting serves as a testament to Schiele's influence as a central figure in the Viennese art scene. Schiele was known for his provocative and innovative approach to art, and his work had a profound impact on his contemporaries and future generations of artists. Published and distributed by LEM, Milano. Printed in Italy.
"Woman Seated in Underwear" by Egon Schiele, 1994 Unsigned Offset Lithograph. Paper size is 35.5 x 23.75 inches, with an image size of 29.75 x 19 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: Schiele's female nudes often evoke a sense of vulnerability and eroticism, while also conveying a deeper psychological complexity. His subjects are often depicted with intense gazes and introspective expressions, inviting viewers to contemplate the inner lives of these women beyond their physical appearance.
"Seated Woman with Left Hand in Hair" by Egon Schiele, 1997 Unsigned Offset Lithograph. Paper size is 31.5 x 23.75 inches, with an image size of 28.25 x 18.5 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated B: Very Good Condition, with signs of handling or age. Additional details: Schiele's female nudes often evoke a sense of vulnerability and eroticism, while also conveying a deeper psychological complexity. His subjects are often depicted with intense gazes and introspective expressions, inviting viewers to contemplate the inner lives of these women beyond their physical appearance.
"Kneeling Nude" by Egon Schiele, Unsigned Offset Lithograph. Paper size is 19.75 x 27.5 inches, with an image size of 13 x 20 inches. The Offset Lithograph is from an unknown edition size. and is not framed. The condition was rated A-: Near Mint, very light signs of handling. Additional details: Schiele's female nudes often evoke a sense of vulnerability and eroticism, while also conveying a deeper psychological complexity. His subjects are often depicted with intense gazes and introspective expressions, inviting viewers to contemplate the inner lives of these women beyond their physical appearance.
Egon Schiele (1890-1918) limited edition color lithograph, hand numbered 91/200 and being signed by the artist in the lower right. This piece is published on thick, quality Fabriano Cotton paper. It has a S.P.A.D.E.M. stamp in the lower right corner. On its backside you will find a Grafy.Blog sticker for verification. It is double matted and framed under glass. It measures 26 inches x 34 inches. This piece comes with a COA.
Egon Schiele (Tulln 1890 - 1918 Wien) Alte Giebelhäuser in Krumau vom Schlossberg aus – Old Gabled House in Krumau, Seen from the Schlossberg Deckfarben, Aquarell und schwarze Kreide auf gelblichem Simili-Japan / Opaque colours, watercolour and black chalk on yellowish Simili-Japan 1917 46x30 cm / 46x30 cm Signatur / Signature Unten rechts vom Künstler in schwarzer Kreide in Rechteck signiert und datiert "EGON / SCHIELE / 1917", rückseitig in Bleistift bezeichnet "Krumau a./d.M. vom Schlossturm. Anfang Juni 1917" Werkverzeichnis / Catalogue Raisonné Jane Kallir, Egon Schiele, The Complete Works, New York 1990, Nr. 2133 Jane Kallir, Egon Schiele, The Complete Works, New York 1990, no. 2133 Provenienz / Provenance Atelier des Künstlers Privatsammlung Genf, von dort 1987 als Geschenk an Slg. Eberhard W. Kornfeld, Bern, rückseitig mit dem Sammlerstempel, Lugt 913b Studio of the artist Private collection Geneva, from there 1987 as a gift to The Eberhard W. Kornfeld Collection, Bern, with the collector's stamp on the reverse, Lugt 913b Literatur / Literature Erwin Mitsch, Egon Schiele 1890-1918, Salzburg 1974, Nr. 71, S. 263, Abb. S. 236 Gianfranco Malafarina, L’Opera di Egon Schiele, Mailand 1982, Nr. D96 Franz E. Wischin, Egon Schiele und Krumau, Krumau 1994, Abb. S. 229 Jane Kallir, Egon Schiele, Drawings & Watercolours, London 2003, S. 437, Abb. Erwin Mitsch, Egon Schiele 1890-1918, Salzburg 1974, no. 71, p. 263, ill. p. 236 Gianfranco Malafarina, L'Opera di Egon Schiele, Milan 1982, no. D96 Franz E. Wischin, Egon Schiele und Krumau, Krumlov 1994, ill. p. 229 Jane Kallir, Egon Schiele, Drawings & Watercolours, London 2003, p. 437, ill. Ausstellungen / Exhibitions Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 138, Abb. S. 249 New York, Galerie St. Etienne, In Celebration of the 100th Anniversary of the Artist's Birth London 1991, Fischer Fine Art, Egon Schiele, Kat. Nr. 47 Martigny 1995, Fondation Pierre Gianadda, Egon Schiele, Kat. Nr. 124, Abb. S. 190 Davos 1998/1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, Kat. Nr. 30, Abb. Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, Kat. Nr. 55, S. 134, Abb. S. 97 Wien 2004/2005, Leopold Museum, Egon Schiele – Landschaften, Kat. Nr. 188, Abb. Wien 2005/2006, Albertina, Egon Schiele, Kat. Nr. 204, S. 441, Abb. S. 360 Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld], cat. no. 138, ill. p. 249 New York, Galerie St. Etienne, In Celebration of the 100th Anniversary of the Artist's Birth London 1991, Fischer Fine Art, Egon Schiele, cat. no. 47 Martigny 1995, Fondation Pierre Gianadda, Egon Schiele, cat. no. 124, ill. p. 190 Davos 1998/1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, cat. no. 30, ill. Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, cat. no. 55, p. 134, ill. p. 97 Vienna 2004/2005, Leopold Museum, Egon Schiele - Landschaften, cat. no. 188, ill. Vienna 2005/2006, Albertina, Egon Schiele, cat. no. 204, p. 441, ill. p. 360 Zustand / Condition Leicht gewelltes Papier, Griffknicke und Spuren einer alten Montierung, die in den oberen beiden Ecken leicht sichtbar ist Slightly wavy paper, handling creases and traces of an old mount, which is slightly visible in the upper two corners Erläuterungen / Comments Mit dem südböhmischen Krumau, der Heimatstadt seiner Mutter, ist Egon Schiele zeit seines Lebens verbunden. 1911 übersiedelte er mit seiner damaligen Muse Walburga (Wally) Neuzil in das beschauliche Städtchen, um Wien den Rücken zu kehren. Nach Krumau ziehen die beiden für kurze Zeit nach Au am Anzbach. Schieles künstlerischer Lebensstil – und nicht zuletzt seine Aktzeichnungen junger Mädchen – stiess bei der konservativen Gesellschaft auf Unverständnis und Ablehnung. So sah er sich gezwungen, bereits 1912 wieder nach Wien zurückzuziehen. Krumau blieb für Schiele ein Inspirationsort, an den er immer wieder zurückkehrte. Bei seiner letzten Reise im Jahr 1917, einige Monate vor seinem frühen Tod, entstanden einige Zeichnungen, darunter die vorliegende. Schiele zeigt einen ungewöhnlich schrägen Blickwinkel vom Schlossberg auf das Städtchen und setzt, wie so oft in seinem zeichnerischen Werk, kolorierte Partien und leere Flächen in ein Spannungsfeld. Die kleinen Figuren, die die Strassen beleben, sind typisch für Schieles Spätwerk, waren doch seine Stadtansichten bis anhin ohne Personen ausgekommen. Eine wunderbare Arbeit mit eigenwilliger Perspektive, die Schieles Verständnis von Räumlichkeit eindrücklich belegt. Throughout his life, Egon Schiele was connected to Krumlov in southern Bohemia, his mother's hometown. In 1911, he moved to the tranquil little town with his then muse, Walburga (Wally) Neuzil, turning his back on Vienna. After Krumlov, the couple moved to Au am Anzbach for a short time. Schiele's artistic lifestyle - and not least his nude drawings of young girls - met with incomprehension and rejection from conservative society. As a result, he was forced to return to Vienna in 1912. Krumlov remained a place of inspiration for Schiele, to which he returned time and again. During his last visit in 1917, a few months before his early death, he created several drawings, including this one. Schiele shows an unusually oblique view of the small town from the Schlossberg and, as so often in his drawings, places coloured areas and empty spaces in a field of tension. The small figures that animate the streets are typical of Schiele's late work, as his views of the town had previously been devoid of people. A wonderful work with an idiosyncratic perspective that impressively demonstrates Schiele's understanding of space. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 13:55 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 230.- Übrige Länder / Other countries: CHF 290.-
Egon Schiele (Tulln 1890 - 1918 Wien) Frontansicht eines sitzenden Mädchens mit Hut - Front View of a Seated Girl with Hat Zimmermannsbleistift auf gelblichem Velin / Carpenter's pencil on yellowish wove paper 1914 48,2x31,5 cm / 48.2x31.5 cm Signatur / Signature Unten rechts vom Künstler in Zimmermannsbleistift in Rechteck signiert und datiert "EGON / SCHIELE / 1914", rückseitig Augenstudie Signed and dated by the artist in carpenter's pencil in a rectangle lower right "EGON / SCHIELE / 1914", eye study on the reverse Werkverzeichnis / Catalogue Raisonné Jane Kallir, Egon Schiele, The Complete Works, New York 1990, Nr. 1576 Jane Kallir, Egon Schiele, The Complete Works, New York 1990, no. 1576 Provenienz / Provenance Atelier des Künstlers Privatsammlung Genf, von dort am 3. Dezember 1956 angekauft von Gutekunst & Klipstein, Bern, dort erworben von Slg. Eberhard W. Kornfeld, Bern, rückseitig mit dem Sammlerstempel, Lugt 913b Studio of the artist Private collection Geneva, purchased from there on 3 December 1956 by Gutekunst & Klipstein, Bern, acquired there by The Eberhard W. Kornfeld Collection, Bern, with the collector's stamp on the reverse, Lugt 913b Ausstellungen / Exhibitions Luzern 1974, Kunstmuseum, Kunst in Österreich 1900-1930, Kat. Nr. 245, reproduziert auf dem Plakat dieser Ausstellung Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 134, Abb. S. 241 Zürich 1994, Sammlung Hauser & Wirth, Egon Schiele - Arbeiten auf Papier, Abb. S. 83 Wien 2005/2006, Albertina, Egon Schiele, Kat. Nr. 164, S. 408, Abb. S. 298 Lucerne 1974, Museum of Art, Art in Austria 1900-1930, cat. no. 245, reproduced on the poster of this exhibition Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld], cat. no. 134, ill. p. 241 Zurich 1994, Sammlung Hauser & Wirth, Egon Schiele - Arbeiten auf Papier, ill. p. 83 Vienna 2005/2006, Albertina, Egon Schiele, cat. no. 164, p. 408, ill. p. 298 Zustand / Condition Das Blatt leicht und unregelmässig gebräunt, die kleinen, regelmässig verteilten Flecken stammen vom Herstellungsprozess. Links eine vertikale Falte über den gesamten Blattrand. Leichte Griffknicke und unten links eine leicht restaurierte Stelle. Auf der Rückseite mit dem Ansatz einer Gesichtsskizze und Spuren einer alten Montierung The sheet slightly and irregularly brownish, the small, stains are from the production process. A vertical fold on the left over the entire margin. Slight handling creases and a slightly restored area at lower left. On the reverse with a facial sketch and traces of an old mount Erläuterungen / Comments Wally, eigentlich Walburga Neuzil, war Egon Schieles Muse und Gefährtin. Im Jahr 1911 zog er mit ihr zuerst nach Krumau, später nach Au am Anzbach. Die wilde Ehe der beiden sorgte in der ländlichen Umgebung für gehörigen Wirbel und führte dazu, dass Schiele wegen "Verbreitung unsittlicher Zeichnungen" verurteilt wurde und sogar vierundzwanzig Tage im Gefängnis verbringen musste. Ab 1912 kehrten die beiden nach Wien zurück, wo sie schliesslich eine Atelierwohnung an der Hietzinger Hauptstrasse 101 bezogen. Dort entstand 1915 mit "Tod und Mädchen" eines seiner Hauptwerke, das den Künstler und Wally in einer eigenartigen Umarmung zeigt. Das Gemälde wird oft als sein Trennungsbild gesehen, hat Schiele doch seine Muse kurz darauf verlassen, um Edith Harms zu heiraten. Das hier angebotene Blatt, im Jahr 1914 entstanden, steht im Zentrum einer zehnteiligen Serie von Bleistiftzeichnungen. Keine davon ist koloriert. Wie bereits in anderen Reihen thematisierte der Künstler den Prozess des Entkleidens und zeigte sein Modell in verschiedenen Positionen. Die Zeichnung des sitzenden, mit einem Mantel und Hut gekleideten Mädchens, bildet den Anfangspunkt. Ihr Blick wirkt nachdenklich in sich gekehrt, nahezu schüchtern auch die verschränkte Haltung der Hände. Eine wunderbare Arbeit, eindrücklich mit sicherem Strich aufs Papier gebracht. Wally, actually Walburga Neuzil, was Egon Schiele's muse and companion. In 1911, he moved with her first to Krumau and later to Au am Anzbach. The couple's wild marriage caused quite a stir in the rural area and led to Schiele being convicted of "disseminating immoral drawings", so that he had to spend twenty-four days in prison. In 1912, the couple returned to Vienna, where they eventually moved into a studio flat at Hietzinger Hauptstrasse 101. It was there in 1915 that he painted one of his major works, "Tod und Mädchen", which shows the artist and Wally in a strange embrace. The painting is often seen as his break-up picture, as Schiele left his muse shortly afterwards to marry Edith Harms. The drawing offered here, created in 1914, is the centrepiece of a series of ten pencil drawings. None of them are coloured. As in other series, the artist explored the process of undressing and showed his model in various positions. The drawing of the seated girl, wearing a coat and hat, is the starting point. Her gaze appears pensive and introverted, as do the interlocked hands. A marvellous work, impressively captured on paper with a confident stroke. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 13:55 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 230.- Übrige Länder / Other countries: CHF 290.-
Egon Schiele (Tulln 1890 - 1918 Wien) Friederike Beer in gestreiftem Kleid mit erhobenen Armen - Friederike Beer in Striped Dress with Raised Arms Bleistift und Aquarell auf gelblichem Simili-Japan / Pencil and watercolour on yellowish Simili-Japan 1914 48,3x32,2 cm / 48.3x32.2 cm Signatur / Signature Unten rechts vom Künstler in Bleistift in Rechteck signiert und datiert "EGON / SCHIELE / 1914" Signed and dated by the artist in pencil in a rectangle lower right "EGON / SCHIELE / 1914" Werkverzeichnis / Catalogue Raisonné Jane Kallir, Egon Schiele, The Complete Works, New York 1998, Nr. 1597 Jane Kallir, Egon Schiele, The Complete Works, New York 1998, no. 1597 Provenienz / Provenance Atelier des Künstlers Slg. Friederike Beer-Monti, Wien Slg. Erich Lederer, Wien und Genf. Geschenk an Slg. Pierre Bouffard, Genf, um 1967 erworben von Slg. Eberhard W. Kornfeld, Bern, rückseitig mit dem Sammlerstempel, Lugt 913b Studio of the artist Friederike Beer-Monti Collection, Vienna Erich Lederer Collection, Vienna and Geneva. Gift to Pierre Bouffard Collection, Geneva, acquired circa 1967 by The Eberhard W. Kornfeld Collection, Bern, with the collector's stamp on the reverse, Lugt 913b Literatur / Literature Jane Kallir, Egon Schiele, Drawings & Watercolours, London 2003, S. 316, Abb. Jane Kallir, Egon Schiele, Drawings & Watercolours, London 2003, p. 316, ill. Ausstellungen / Exhibitions Luzern 1974, Kunstmuseum, Kunst in Österreich 1900-1930, Kat. Nr. 244 Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 135, Abb. S. 243 Zürich 1996/1997, Kunsthaus, Wunderkammer Österreich, Über Klimt, Kokoschka, Schiele hinaus, (ohne Kat. Nr.) Davos 1998/1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, Kat. Nr. 27, Abb. Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, Kat. Nr. 52, S. 134, Abb. S. 93 Wien 2005/2006, Albertina, Egon Schiele, Kat. Nr. 177, S. 408, Abb. S. 317 Wien 2011, Belvedere, Egon Schiele, Selbstporträts und Porträts, Kat. Nr. 64, S. 257, Abb. S. 160 und Teilabb. S. 122/123 Zürich 2014/2015, Kunsthaus, Egon Schiele – Jenny Saville, Kat. Nr. 91, S. 163, Abb. S. 145 Lucerne 1974, Kunstmuseum, Kunst in Österreich 1900-1930, cat. no. 244 Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld], cat. no. 135, ill. p. 243 Zurich 1996/1997, Kunsthaus, Wunderkammer Österreich, Über Klimt, Kokoschka, Schiele hinaus, (without cat. no. ) Davos 1998/1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, cat. no. 27, ill. Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, cat. no. 52, p. 134, ill. p. 93 Vienna 2005/2006, Albertina, Egon Schiele, cat. no. 177, p. 408, ill. p. 317 Vienna 2011, Belvedere, Egon Schiele, Selbstporträts und Porträts, cat. no. 64, p. 257, ill. p. 160 and partial ill. p. 122/123 Zurich 2014/2015, Kunsthaus, Egon Schiele - Jenny Saville, cat. no. 91, p. 163, ill. p. 145 Zustand / Condition Das Blatt minim gebräunt, kleine Reissnagellöcher im Papierrand sowie Knicke entlang der Blattkanten. Das Papier leicht gewellt und mit Griffknicken The sheet minimally brownish, small tear nail holes at the margin and creases along the sheet edges. The paper slightly wavy and with handling creases Erläuterungen / Comments Friederike "Fritzi" Beer, die Tochter der Besitzer der populären und legendären Wiener Kaiserbar, war eine schillernde Figur im Wiener Kulturleben. Nach ihrer Schulzeit versuchte sich Fritzi als Schauspielerin und wurde Modell für die Kleider der Wiener Werkstätte. Sie ist die einzige Person, die sowohl von Egon Schiele als auch von Gustav Klimt porträtiert wurde. Die vorliegende Zeichnung diente dabei als Vorstudie für Schieles Ölgemälde, das ebenfalls im Jahr 1914 entstand. Beer gab die Arbeit selbst in Auftrag. Die spezielle Körperhaltung der Komposition entstand dadurch, dass Beer auf dem Bauch liegend und ein Kissen umklammernd vor dem Künstler posierte. Das Weglassen von jeglichen Requisiten führte zum Verlust des Räumlichen, sodass die Figur mit den erhobenen Armen förmlich zu schweben scheint. Diesen Effekt verstärkt Schiele im späteren Gemälde noch deutlicher. Friederike Beer trägt ein Kleid der Wiener Werkstätte, dessen typisches Muster von Schiele angedeutet wird. Wie so oft in seinen Zeichnungen stellt er bewusst kolorierte Teile den leer gelassenen Partien gegenüber. Beer heiratete 1920 den italienischen Kapitän Emanuele Monti und nannte sich fortan Monti-Beer. Sie emigrierte Mitte der 1930er Jahre in die USA, wo sie in New York unter dem Namen Federica Beer-Monti die "Artists’ Gallery" leitete, die amerikanische Künstler förderte. Eine sehr wichtige Zeichnung im Œuvre, die die Dargestellte mit in die USA brachte und schliesslich später verkaufte. Friederike "Fritzi" Beer, daughter of the owners of the popular and legendary Wiener Kaiserbar, was a colourful figure in Viennese cultural life. After leaving school, Fritzi tried her hand at acting and became a fashion model for the Wiener Werkstätte. She is the only person to have been portrayed by both Egon Schiele and Gustav Klimt. This drawing served as a preliminary study for Schiele's oil painting, which was also created in 1914. Beer commissioned the work himself. The striking posture is due to the fact that Beer posed in front of the artist lying on her stomach and clutching a cushion. The absence of any props led to a loss of spatiality, so that the figure seems to be floating with her arms raised. Schiele emphasised this effect even more in the later painting. Friederike Beer is wearing a dress from the Wiener Werkstätte, whose typical pattern is hinted at by Schiele. As so often in his drawings, he deliberately juxtaposed areas of colour with blank spaces . Beer married the Italian captain Emanuele Monti in 1920 and took the name Monti-Beer. She emigrated to the USA in the mid-1930s, where she ran the "Artists' Gallery" in New York under the name Federica Beer-Monti, which promoted American artists. A very important drawing in Schiele‘s oeuvre, which Emanuele Monti took to the USA and later sold. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 13:55 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 230.- Übrige Länder / Other countries: CHF 290.-
Egon Schiele (Tulln 1890 - 1918 Wien) Kniendes junges Mädchen, frontal - Torso Aquarell über Bleistift auf Simili-Japan / Watercolour over pencil on Simili-Japan 1913 48,2x31,7 cm / 48.2x31.7 cm Signatur / Signature Unten rechts unter dem Fuss vom Künstler in Bleistift signiert und datiert "EGON / SCHIELE / 1913", im Rand unten rechts bezeichnet "TORSO" Signed and dated "EGON / SCHIELE / 1913" in pencil by the artist lower right under the foot, inscribed "TORSO" at the lower right margin Werkverzeichnis / Catalogue Raisonné Jane Kallir, Egon Schiele, The Complete Works, New York 1990, Nr. 1390 Jane Kallir, Egon Schiele, The Complete Works, New York 1990, no. 1390 Provenienz / Provenance Slg. Serena und August Lederer, Wien Privatsammlung Genf Auktion Galerie Kornfeld, Bern, 26. Juni 1992, Los 135, dort erworben von Slg. Eberhard W. Kornfeld, Bern, rückseitig mit dem Sammlerstempel, Lugt 913b Serena and August Lederer Collection, Vienna Private collection Geneva Auktion Galerie Kornfeld, Bern, 26 June 1992, lot 135, acquired there by The Eberhard W. Kornfeld Collection, Bern, with the collector's stamp on the reverse, Lugt 913b Literatur / Literature Zeichnungen Egon Schiele, 12 Blätter in Originalgrösse, Wien, Buchhandlung Richard Lányi, 1917, im Portfolio Tafel IV. - Ebenfalls im Verlag Richard Lányi als Postkarte publiziert Jane Kallir, Egon Schiele, Drawings & Watercolours, London 2003, S. 254, Abb. Zeichnungen Egon Schiele, 12 Blätter in Originalgrösse, Wien, Buchhandlung Richard Lányi, 1917, in portfolio plate IV - Also published by Richard Lányi as a postcard Jane Kallir, Egon Schiele, Drawings & Watercolours, London 2003, p. 254, ill. Ausstellungen / Exhibitions Davos 1998-1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, Kat. Nr. 26, Abb. Genf 1999-2000, Musée d’art et d’histoire, Steinlen et l’époque 1900, S. 183 Barcelona 2000, Museu Picasso, Steinlen y l’época de 1900, S. 214 Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, Kat. Nr. 51, S. 134, Abb. S. 91 Wien 2005/2006, Albertina, Egon Schiele, Kat. Nr. 128, S. 405, Abb. S. 243 Zürich 2014/2015, Kunsthaus, Egon Schiele/Jenny Saville, ausser Kat. Davos 1998-1999, Kirchner Museum, Werke aus der Sammlung Eberhard W. Kornfeld, cat. no. 26, ill. Geneva 1999-2000, Musée d'art et d'histoire, Steinlen et l'époque 1900, p. 183 Barcelona 2000, Museu Picasso, Steinlen y l'época de 1900, p. 214 Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, cat. no. 51, p. 134, ill. p. 91 Vienna 2005/2006, Albertina, Egon Schiele, cat. no. 128, p. 405, ill. p. 243 Zurich 2014/2015, Kunsthaus, Egon Schiele/Jenny Saville, except cat. Zustand / Condition An den äusseren Rändern vereinzelte Reissnagellöcher, besonders oben in der Mitte. Das Blatt weist eine regelmässige Maserung in Form von kleinen Flecken auf, die mit der Papierqualität und dessen Alterung zusammenhängt. Leichte Griffknicke und eine horizontale Falte entlang der unteren Blattkante. Rückseitig Spuren alter Montierungen. In guter Erhaltung Scattered nail holes at the outer margins, especially in the top centre. The sheet shows regular grain in the form of small stains, which is related to the paper quality and its ageing. Slight handling creases and a horizontal fold along the lower edge of the sheet. Traces of old mounting on the verso. In good condition Erläuterungen / Comments Mit zunehmendem Erfolg bezog Schiele im Oktober 1912 einen Arbeitsraum in der Hietzinger Hauptstrasse 101, unweit des Ateliers von Gustav Klimt, den er fast bis zu seinem Tod nutzte. 1913 wurde er Mitglied im Bund Österreichischer Künstler, dem Klimt vorstand. Schiele wurde zu einem sensiblen, in der Ausführung aber äusserst expressiven und unerbittlichen Beobachter seiner Umwelt und seiner Zeit. Ihn interessierten vor allem auch Menschen und ihre Körperlichkeit. Der "Torso" etwa ist Teil einer Reihe, in der Egon Schiele das schrittweise Entkleiden des weiblichen Körpers thematisiert und dokumentiert. Die Zeichnung stellt den Endpunkt dieses Narrativs dar; es ist kein Kleidungsstück mehr vorhanden. In der Serie werden die Dargestellten meist am Kopf oder Oberkörper angeschnitten, somit fokussieren sich die Darstellungen auf den weiblichen Körper. Mit festem Strich, hauchdünn koloriert, spürt man förmlich den ungeduldigen Eifer, mit welchem die wunderbare Zeichnung entstanden ist. Auffällig ist die betont reduzierte Farbgebung im Vergleich zu den früheren Arbeiten, in denen gerade die Kolorierung der Haut eine zentrale Rolle spielt. Die Kleidung – und somit der Akt des Entkleidens selbst – steht somit im Vordergrund dieser Reihe. In October 1912, with increasing success, Schiele moved into a studio at Hietzinger Hauptstrasse 101, not far from Gustav Klimt's studio, which he used almost until his death. In 1913, he became a member of the Association of Austrian Artists, headed by Klimt. Schiele became a sensitive, yet extremely expressive and relentless observer of his surroundings and his time. He was particularly interested in people and their physicality. "Torso", for example, is part of a series in which Egon Schiele explored and documented the gradual undressing of the female body. The drawing represents the end point of this narrative; there is no longer any clothing. In the series, the sitters are usually cropped at the head or upper body, thus focusing on the female body. With bold strokes and wafer-thin colouring, the impatient eagerness with which this wonderful drawing was created is palpable. The deliberately reduced use of colour is striking in contrast to the earlier works, in which the colouring of the skin plays a central role. Clothing - and thus the act of undressing itself - is thus at the heart of this series. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 13:55 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 230.- Übrige Länder / Other countries: CHF 290.-
Egon Schiele (Tulln 1890 - 1918 Wien) Selbstbildnis als Akt – Self-Portrait with Raised Left Arm Bleistift auf gelblichem Simili-Japan / Pencil on yellowish Simili-Japan 1912 48,2x31,6 cm / 48.2x31.6 cm Signatur / Signature Unten rechts vom Künstler in Bleistift signiert und datiert "EGON / SCHIELE / 1912". Rückseitig mit dem Egon Schiele Nachlassstempel und der Signatur der Schwester des Künstlers, Melanie Schuster Signed and dated by the artist in pencil lower right "EGON / SCHIELE / 1912". With the Egon Schiele estate stamp and the signature of the artist's sister, Melanie Schuster, on the reverse Werkverzeichnis / Catalogue Raisonné Jane Kallir, Egon Schiele, The Complete Works, New York 1998, Nr. 1162 Jane Kallir, Egon Schiele, The Complete Works, New York 1998, no. 1162 Provenienz / Provenance Nachlass Egon Schiele Slg. Melanie Schuster, Wien Antiquariat Christian M. Nebehay, Wien, 1957 angekauft von Gutekunst & Klipstein, Bern, von dort an Slg. Eberhard W. Kornfeld, Bern, rückseitig mit dem Sammlerstempel, Lugt 913b Estate of Egon Schiele Melanie Schuster Collection, Vienna Antiquarian bookshop Christian M. Nebehay, Vienna, purchased in 1957 by Gutekunst & Klipstein, Bern, from there to The Eberhard W. Kornfeld Collection, Bern, with the collector's stamp on the reverse, Lugt 913b Ausstellungen / Exhibitions Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld], Kat. Nr. 132, Abb. S. 237 Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, Kat. Nr. 50, S. 134, Abb. S. 90 Zürich 2014/2015, Kunsthaus, Egon Schiele/Jenny Saville, Kat. Nr. 75, S. 163, Abb. S. 132 Bern 1989, Kunstmuseum Bern, Von Goya bis Tinguely, Aquarelle und Zeichnungen aus einer Privatsammlung [Slg. Eberhard W. Kornfeld], cat. no. 132, ill. p. 237 Madrid 2003, Fundación Juan March, Espíritu de modernidad: de Goya a Giacometti, Obra sobre papel de la colección Kornfeld, cat. no. 50, p. 134, ill. p. 90 Zurich 2014/2015, Kunsthaus, Egon Schiele/Jenny Saville, cat. no. 75, p. 163, ill. p. 132 Zustand / Condition Das Blatt leicht gebräunt und mit leichten Falten und Griffknicken. Oben rechts und links mit Reissnagellöchlein. Auf der Rückseite Spuren einer alten Montierung. In guter Erhaltung The sheet slightly brownish and with slight creases. Top right and left with small nail holes. Traces of an old mount on the reverse. In good condition Erläuterungen / Comments Der Hauptstadt Wien überdrüssig zog Egon Schiele 1911 mit seinem wohl bekanntesten Modell Walburga (Wally) Neuzil zuerst nach Krumau, danach nach Au am Anzbach, um seine eigene Bildsprache massgeblich weiterzuentwickeln. 1912 kehrte er schliesslich nach Wien zurück und wurde mit Unterstützung von seinem Mentor und Förderer Gustav Klimt in die Wiener Gesellschaft eingeführt. Schiele feierte von da an grosse Erfolge. Die eindrücklichen Selbstporträts aus dieser Zeit dürfen im Zusammenhang mit seinem wachsenden Selbstbewusstsein gelesen werden. Im Laufe seiner künstlerischen Karriere porträtierte sich Egon Schiele immer wieder selbst. Hier als stehender Halbakt mit erhobenem linkem Arm. Bei der vorliegenden Arbeit handelt es sich um eine reine Bleistiftzeichnung mit klarer Linienführung. Der selbstbewusste Blick des Künstlers scheint klar und konzentriert auf die Betrachtenden gerichtet. Selten zeigt sich der Künstler mit solch einem präsenten Blick, ohne verzerrtes fratzenartiges Gesicht. Man spürt die Energie des 22-jährigen Mannes, der daran war, die Kunstwelt zu erobern. Ein sehr persönliches und in seiner Einfachheit überzeugendes Blatt. In 1911, tired of the capital Vienna, Egon Schiele and his most famous model, Walburga (Wally) Neuzil, moved first to Krumau and then to Au am Anzbach, where Schiele developed his own pictorial language. He finally returned to Vienna in 1912 and, with the help of his mentor and patron Gustav Klimt, was introduced to Viennese society. From then on, Schiele enjoyed great success. The impressive self-portraits of this period can be read in the context of his growing self-confidence. Throughout his artistic career, Egon Schiele often portrayed himself. Here as a standing semi-nude with his left arm raised. The work is a pure pencil drawing with clear lines. The artist's confident gaze is clearly directed at the viewer. Rarely does the artist show himself with such a present gaze, without a distorted, grimacing face. You can feel the energy of the 22-year-old man who was about to conquer the art world. A very personal and convincing print in its simplicity MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 13.09.2024; 13:50 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 145.- Europa / Europe: CHF 255.- Übrige Länder / Other countries: CHF 330.-
Egon Schiele (Tulln 1890 - 1918 Wien) Selbstbildnis Kaltnadel auf starkem, gelblichem Kupferdruckpapier / Drypoint on strong, yellowish copperplate paper Vor dem 8. Mai 1914, Druck 1922 13x11 cm, Plattenkante; 19,9x17,5 cm, Blattgrösse / 13x11 cm, platemark; 19.9x17.5 cm, sheet size Werkverzeichnis / Catalogue Raisonné Kallir 4/b (v. c/2) Kallir 4/b (of c/2) Provenienz / Provenance Privatsammlung USA Private collection USA Zustand / Condition Das Papier etwas gebräunt, mit leichtem Lichtrand und rückseitig Spuren alter Montierungen. Schöner Druck in guter Erhaltung The paper somewhat browned, with slight lightstruck and traces of old mounting on the verso. Fine impression in good condition Erläuterungen / Comments Einer der 80 Drucke für die Auflage der Mappe "Das graphische Werk von Egon Schiele", die 1922 nach der Verstählung der Platte abgezogen wurde. Ein frühes, ausdrucksstarkes Selbstporträt des Künstlers. One of the 80 prints for the edition of the portfolio "Das graphische Werk von Egon Schiele", which was printed in 1922 after the plate was steeled. An early, expressive self-portrait of the artist. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 15:05 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 115.- Europa / Europe: CHF 185.- Übrige Länder / Other countries: CHF 235.-
Egon Schiele (Tulln 1890 - 1918 Wien) Bildnis Arthur Roessler Kaltnadel auf Bütten / Drypoint on laid paper 1914 (vor dem 11. Juli) 24x31,5 cm, Plattenkante; 33,5x50 cm, Blattgrösse / 24x31.5 cm, platemark; 33.5x50 cm, sheet size Werkverzeichnis / Catalogue Raisonné Kallir 8/b (v. c) Kallir 8/b (of c) Zustand / Condition Sehr schöner Druck in dunklem Olivgrün, mit Plattenton, in den ursprünglichen Randverhältnissen. Rückseitig im oberen Rand mit Spuren einer alten Montierung. Im Papierrand mit leichten Knicken, der äusserste Rand rechts mit leichter Verfärbung. Sauber in der Erhaltung Very fine impression in dark olive green, with plate tone, in the original margins. Traces of an old mounting in the upper margin on the reverse. Slight creases in the paper margin, the outermost margin on the right with slight discolouration. good condition Erläuterungen / Comments Dieses Blatt wurde lediglich in 80 Exemplaren gedruckt und nur der 1922 publizierten Mappe "Das graphische Werk von Egon Schiele" beigelegt. Eine Nachauflage kam 1969 heraus. - Arthur Roessler (1877-1955) war Kunstschriftsteller in Wien. Er setzte sich früh für Schiele ein und verfasste auch das Vorwort für die 1922 im Avalun-Verlag herausgekommene Mappe mit Schieles graphischem Werk. Only 80 copies of this sheet were printed and it was only included in the portfolio "Das grafische Werk von Egon Schiele" published in 1922. A subsequent edition was published in 1969. - Arthur Roessler (1877-1955) was an art writer in Vienna. He was an early advocate of Schiele and also wrote the foreword for the portfolio of Schiele's graphic works published by Avalun-Verlag in 1922. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 15:05 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 230.- Übrige Länder / Other countries: CHF 290.-
Egon Schiele (Tulln 1890 - 1918 Wien) Männlicher Akt (Selbstbildnis) 1 Lithographie auf Velin / Lithograph on wove paper 1927 44,6x31,9 cm, Blattgrösse / 44.6x31.9 cm, sheet size Signatur / Signature Unten links vom Künstler in Bleistift signiert und datiert "Egon / Schiele / 1912" Signed and dated "Egon / Schiele / 1912" in pencil by the artist lower left Werkverzeichnis / Catalogue Raisonné Kallir 1/b/2 Kallir 1/b/2 Zustand / Condition Beschnitten und leicht verblasst. In schöner Gesamterhaltung Trimmed and slightly faded. In fine overall condition Erläuterungen / Comments Egon Schiele nahm sich selbst als Modell für seine erste Graphik. Frontal, nackt und ungeschönt stellt er sich mit leicht gestrecktem Körper dar. Einer der 200 Drucke für die Normalausgabe der Mappe "Sema". Das gedruckte Verlagszeichen der Sema-Vereinigung in der linken unteren Ecke ist nur ansatzweise zu erkennen. Egon Schiele used himself as the model for his first print. He depicts himself frontally, naked and unadorned with his body slightly stretched. One of the 200 prints for the standard edition of the "Sema" portfolio. The printed publisher's mark of the Sema Association in the lower left corner is only partially visible. MWST / VAT Mehrwertsteuer auf dem Zuschlagspreis plus Aufgeld / VAT on hammer price plus buyer's premium Erwartete Ausrufzeit / Estimated Auction Time of Lot (+/- 30min) 12.09.2024; 15:05 h (MEST / CET) For further information visit our website (www.kornfeld.ch) Versandkosten / Shipping cost Schweiz / Switzerland: CHF 130.- Europa / Europe: CHF 230.- Übrige Länder / Other countries: CHF 290.-
Egon Schiele (1890-1918) limited edition color lithograph, hand numbered 91/200 and being signed by the artist in the lower right. This piece is published on thick, quality Fabriano Cotton paper. It has a S.P.A.D.E.M. stamp in the lower right corner. On its backside you will find a Grafy.Blog sticker for verification. It is double matted and framed under glass. It measures 26 inches x 34 inches. This piece comes with a COA.
Egon Schiele (1890-1918) limited edition color lithograph, hand numbered 91/200 and being signed by the artist in the lower right. This piece is published on thick, quality Fabriano Cotton paper. It has a S.P.A.D.E.M. stamp in the lower right corner. On its backside you will find a Grafy.Blog sticker for verification. It is double matted and framed under glass. It measures 26 inches x 34 inches. This piece comes with a COA.
Egon Schiele 'The Artist's Room in Neulengbach' lithograph. Signed in the plate lower right. Numbered 141/200 in pencil and holds SPADEM blindstamp lower left. Sheet measures 27 1/2" x 19 5/8".
Egon Schiele 'Packing Room' lithograph. Signed in the plate lower right. Numbered 10/200 in pencil and holds SPADEM blindstamp lower left. Sheet measures 27 1/2" x 19 5/8".
Egon Schiele 1890 - 1918 Junges Mädchen mit verschränkten, seitlich rechts zum Kopf erhobenen Armen (Nude Girl with Folded Arms Raised to the Right Side of Head) signed with the initial S. and dated 10. (lower right) pencil on paper 55.3 by 37 cm. 21¾ by 14½ in. Executed in 1910.
Egon Schiele (1890-1918) limited edition color lithograph, hand numbered 26/200 and being signed by the artist in the lower right. This piece was produced on thick, quality Fabriano Cotton paper. It has a S.P.A.D.E.M. stamp in the lower right corner. On its backside you will find a Grafy.Blog sticker for verification. It is mounted, matted and framed under glass in a gold toned frame. It measures 23 inches x 27 inches. This piece comes with a COA.
Oil on fine cardboard, mounted on firm cardboard. (19)07. C. 19.5 x 27.5 cm. Signed and dated "MAI-07-" lower right. Inscribed on the reverse "Von der ersten Landpartie an der Westbahn. Purkersdorf 'German Forest'".
