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Egon Schiele

Austria (1890 -  1918 ) Wikipedia® : Egon Schiele
SCHIELE Egon Franz Hauer

Palais Dorotheum /Jun 14, 2017
1,200.00
1,500.00

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Artworks in Arcadja
878

Some works of Egon Schiele

Extracted between 878 works in the catalog of Arcadja
Egon Schiele - Kniende Frau

Egon Schiele - Kniende Frau

Original 1912
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Lot number: 50
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Description:
KNIENDE FRAU Egon Schiele 1890 - 1918 Signed EGON SCHIELEand dated 1912(lower left) Gouache, watercolor and pencil on paper 12 1/4 by 19 in. 31.1 by 48.2 cm Executed in 1912. Kunsthandlung Max Hevesi, Vienna (acquired between 1920 and 1938bears Gallery Stamp on verso) C & J Goodfreund Drawings and Prints, New York (acquired after 1968) Atsuko Shilowitz Murayama & Carol M Penn Leonard Hutton Galleries, New York Dr. Anton C.R. Dreesmannm, The Netherlands (acquired from the above and sold: Christie's, London, April 9, 2002, lot 152) Acquired at the above sale Exhibited New York, Lafayette Parke Gallery,The Expressionist Figure, 1986, no. 52 Literature Jane Kallir,Egon Schiele: The Complete Works, London, 1990, no. 1130, illustrated p. 478 Jane Kallir,Egon Schiele: The Complete Works, New York, 1998, no. 1130, illustrated p. 478 Kniende Frau, like the vast majority of drawings Schiele created in 1912, depicts his model, muse and companion Walburga \‘Wally\’ Neuzil. She was thought to have previously modeled for Schiele\’s mentor and champion Gustav Klimt but was already working with the younger artist in 1911 and by 1912 had formed a lasting and meaningful relationship with him which went beyond that of artist and model. Schiele was just twenty-two when he executed this work and Wally was eighteen. She is instantly recognizable by her auburn hair and pale eyes looking just beyond the viewer\’s gaze, never quite meeting it but seemingly aware of it being observed. The dynamic between the artist and his subject is extremely charged; Wally\’s body is purposefully and provocatively tilted at an angle which allows her to look sideways, seemingly passive yet with enormous magnetism and self-possession. Throughout their four years together, Wally not only modeled for Schiele tirelessly but also managed the artist\’s financial affairs, worked with collectors and gallerists, paid rent and delivered paintings and papers. She accompanied the artist on his outings into the countryside and was with him during his stay in Neulengbach in 1912 when he was briefly imprisoned. Schiele and Wally\’s very presence in the small country town scandalized his conservative neighbors, but his Bohemian lifestyle and his use of local children as models drew specific criticism. When a retired naval officer\’s daughter asked Schiele and Wally to help her run away, the couple found themselves in a precarious position. Although they returned the girl to her parents, the father had already pressed charges against Schiele and the artist spent twenty-four days in a prison cell. This experience—and particularly the loss of freedom and selfhood it entailed—had a marked effect on Schiele\’s work. Peter Vergo observes of the period after his release in 1912 that \“his manner of depicting erotic nudes now seems subtly different, closer to the contrived poses that characterized the nude photographs then widely (albeit surreptitiously) available\” (P. Vergo inThe Radical Nude(exhibition catalogue),The Courtauld Gallery, London, 2014, p. 24). While Schiele\’s nudes following this experience were still erotically charged, as is evident by the purposefully suggestive pose of the present composition, a layer of modulation began to appear in 1912. Here Wally\’s relatively brazen pose coupled with a bare navel and legs are balanced by white drapery which covers her lower half and a brilliant green blouse that draws the eye upwards. Schiele\’s line is unwavering in its careful progress toward the creation ofform, yet the thin, sometimes faint outlines of musculature remain remarkably ethereal. As Vergo writes: \“The propensity to deposit a narrow band of color along principal edges of a form, observed already in 1911, became more pronounced: color washes glide across the central surface and then accumulate in the darker gullies along the periphery... The rounded outlines of his nudes are so soft they appear almost to be melting. His colors, often diluted with white, are equally delicate\” (ibid., pp. 191-92). Schiele\’s immense skill as a colorist is evident in the subtle range of blue, whites, greens and orange washes that he uses to conjure volume and depth in the present work. These are contrasted with the orange-red highlights applied to her features, deliberately drawing attention to her face, her hands and her feet. The use of raw-red to draw attention to Wally\’s pale skin is a technique he often used to tease out a sense of inner emotion and turmoil, a reference to the latent sexual energy in most of his figures. Wally\’s central role in Schiele\’s life and art is clear from the pair of matching portraits he painted in 1912, both in the collection of the Leopold Museum, Vienna. Their relationship ended abruptly in 1915 when Schiele decided to marry Edith Harms, the daughter of the local locksmith, a match deemed far more respectable than that between an avant-garde young artist and his model. Fig. 1 Schiele and Wally Neuzil in Krumau, Czech Republic, 1913 Fig. 2 Egon Schiele, Liebespaar (Selbstdarstellung mit Wally) (Lovers - Self-portrait with Wally), 1914-15, gouache and pencil on paper, sold: Sotheby\’s, London, February 5, 2013, lot 6 for $12,337,586 Fig. 3 Egon Schiele, Self Portrait with Physalis, 1912, oil on canvas, Leopold Museum, Vienna Fig. 4 Egon Schiele, Portrait of Wally Neuzil, 1912, oil on canvas, Leopold Museum, Vienna
Egon Schiele - Male Nude (self Portrait) I (kallir 1)

Egon Schiele - Male Nude (self Portrait) I (kallir 1)

Original 1912
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Gross Price
Lot number: 266
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Description:
Egon Schiele MALE NUDE (SELF PORTRAIT) I (KALLIR 1) Lithograph, 1912, signed in pencil and dated, an impressionfrom the deluxe edition of15 printed on heavy Japan paper (there is also a regular edition of 200 printed on wove), from the portfolio Sema, 15 Originalsteinzeichnungen, with the inkstamp of the Sema Association, published by Delphin-Verlag, Munich,framed image: 422 by 235 mm 16 5/8 by 9 1/4 in sheet: 448 by 400 mm 17 5/8 by 15 3/4 in
Egon Schiele - Female Nude

Egon Schiele - Female Nude

Original 1917
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Net Price
Lot number: 206
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Egon Schiele (Tulln 1890 - 1918 Wien) Female nude, 1917 black chalk on paper ; 45.8 × 29.8 cm signed and dated on the lower left: Egon / Schiele / 1917 Provenance Otto Stoessl (1875-1936), in 1917 or 1918 acquired directly from the artist, until 1936; Franz Stoessl (1910-1988), after his death in property of his widow Rudolfine Stoessl (1922-2013), during her lifetime given as a present to a member of the family of the current owner; since then private property, Austria Jane Kallir examined the work in original and confirmed the authenticity. She will include the work to her supplement of the catalogue raisonné under the number: D. 1949a. Photo certificate by Jane Kallir, from 27 April 2017, attached.
Egon Schiele - Franz Hauer

Egon Schiele - Franz Hauer

Original 1914
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Lot number: 2
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Egon Schiele (Tulln 1890-1918 Vienna) \“Franz Hauer\”, 1914/1922, etching, probably from an edition of 80 for the portfolio \“Das graphische Werk von Egon Schiele\”, image size 12.7 x 10.8 cm, the sheet trimmed, mounted, framed, Kallir 5c, (EW) Prints from the portfolio \“Das graphische Werk von Egon Schiele\” were also sold individually after 1922. Many of these prints are neither signed by hand nor do they feature a signature stamp. (Cf Otto Kallir, Egon Schiele. Das Druckgraphische Werk, Paul Zsolnay Verlag, 1970, p. 108) Specialist: Mag. Elisabeth Wallner
Egon Schiele - Secession 49

Egon Schiele - Secession 49

Original 1957
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Lot number: 7
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Description:
Sale 2449 Lot 7 EGON SCHIELE (1890-1918) SECESSION 49. AUSSTELLUNG. 1918. 26 1/2x20 3/4 inches, 67 1/4x52 3/4 cm. Alb. Berger, Vienna. Condition B+: minor loss in lower left corner; repaired tears at edges, some affecting image; water stains and pin holes in corners and margins; unobtrusive horizontal fold. Mounted on Japan. Matted and framed. Schiele was one of the meteoric talents of the Secession movement. Unlike the colorful and decorative work of the early Secessionists, Schiele's output was darker and more intense, highlighted by powerful, erotic and figurative imagery. He can rightfully be considered one of the first Expressionists. As part of the Secession's 49th Exhibition, Schiele was granted an entire room to display the fifty of his works that had been chosen. He also designed the exhibition poster itself. The resulting intimate scene of "a group of like-minded people, quite content in each other's company" (Schiele p. 198), has various titles such as "Die Tafelrunde" and "Die Freunde," which leaves its meaning open to interpretation. But, as it was finished during the final year of the First World War, it is generally accepted to be "a sentimental tribute to a disappearing world" (Denscher p. 59). The people around the table have been identified as various artist friends of Schiele's (who is seated at the top of the poster). The empty seat opposite him is said to be intended for Gustav Klimt, who died about a month prior to the exhibition's opening. It was this exhibition that launched Schiele as an internationally important artist. Tragically, Schiele died during the Spanish Flu pandemic later that year. Mo MA 24.1957, Modern Poster p. 75, Denscher p. 56, Weill p. 118, Maitres 1900 p. 185, Verfuhrungen p. 38.
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