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Egon Schiele

Austria (1890 -  1918 ) Wikipedia® : Egon Schiele
SCHIELE Egon Zwei Mädchen

Christie's /Feb 3, 2016
131,414.69 - 197,122.04
154,653.75

Find artworks, auction results, sale prices and pictures of Egon Schiele at auctions worldwide.
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Artworks in Arcadja
787

Some works of Egon Schiele

Extracted between 787 works in the catalog of Arcadja
Egon Schiele - Self-portrait

Egon Schiele - Self-portrait

Original
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Lot number: 83
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Lot 83: Egon Schiele, Self-Portrait, Bronze, c. 1917/1980 Bronze with brown patina Austria, around 1917; later cast from 1980 Egon Schiele (1890-1918) - Major Austrian painter, graphic artist and sculptor Signed in the cast 'EGON SCHIELE' with the date '1980', edition number '232/300' and copyright sign on the right side Catalogue raisonné: Kallir 4 f Bronze after the terracotta model of c.1917 Foundry: Venturi Arte, Bologna Published by the Collector's Club, Vienna Height: circa 28 cm Very good condition Condition: The bronze is in very good condition with minor abrasion of the patination and a barely visible patina of age. The height is about 28 cm. Egon Schiele (1890-1918) Egon Schiele is one of the most significant artists of the Wiener Moderne along with Gustav Klimt and Oskar Kokoschka. His exceptional talent was discovered early on. Schiele was accepted to the Academy of Fine Arts in Vienna at the young age of 16, leaving after only three years to found the Neukunstgruppe in 1909. Influenced by Gustav Klimt, whom he first met in 1907, Schiele soon developed a completely unique style. At the age of 20, he was already a mature artist. After leaving Vienna in 1911, Schiele experienced one of his most productive periods. His lifestyle, however, was seen as scandalous outside the capital. He was even imprisoned due to 'public immorality'. Upon his return to Vienna in 1917, Schiele's artistic output reached another point of culmination. Schiele achieved his breakthrough in 1918 with a group exhibition of the Vienna Secession. He subsequently participated in "A Century of Viennese Painting" at the Kunsthaus Zürich as well as in shows in Prague and Dresden. Egon Schiele's works, which are connected like no other artist with his biography, are among the most important of modernity and achieve maximum prices at international auctions. (cko)
Egon Schiele - Equestrian Scene

Egon Schiele - Equestrian Scene

Original
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Lot number: 42
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Equestrian Scene Oil on card, laid down on cardboard Germany, around 1930 E. Schiele - Painter of the 20th century Signed lower right ‘E. Schiele’’’’ Appealing equestrian scene executed in loose brushwork; in profiled frame Overall dimensions framed: 60.5 x 77.5 cm Good condition This object is sold through the Berlin office
Egon Schiele - Porträt Des Komponisten Arthur Löwenstein

Egon Schiele - Porträt Des Komponisten Arthur Löwenstein

Original 1909
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Lot number: 167
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Egon Schiele 1890 - 1918 PORTRÄT DES KOMPONISTEN ARTHUR LÖWENSTEIN (PORTRAIT OF THE COMPOSER ARTHUR LÖWENSTEIN) signed Schiele and dated 1909 (lower right) and inscribed Löwenstein (towards centre right) coloured pencil and charcoal on paper 23.2 by 23.2cm., 9 1/4 by 9 1/4 in. Executed in 1909. Provenance Sale: Gutekunst & Klipstein, Bern, 8th November 1958, lot 449 Christian M. Nebehay, Vienna (purchased at the above sale) Private Collection, Vienna (by descent from the above; sale: Sotheby's, New York, 7th November 2007, lot 5) Acquired by the present owner in 2009 Exhibited Vienna, Gustav Nebehay Kunsthandlung, Die Zeichnung: Egon Schiele, 1919, no. 19 New York, Solomon R. Guggenheim Museum, Gustav Klimt and Egon Schiele, 1965, no. 49 (addenda) Darmstadt, Mathildenhöhe, Internationale der Zeichnung, 1967, no. 6 Vienna, Graphische Sammlung Albertina, Gustav Klimt, Egon Schiele, 1968, no. 131 London, Fischer Fine Art, Egon Schiele: Oils, Watercolors, Drawings and Graphic Work, 1972, no. 8 Munich, Haus der Kunst, Egon Schiele, 1975, no. 80 Literature Alessandra Comini, Egon Schiele's Portraits, Berkeley, 1974, n.n., illustrated pl. 9 Christian Nebehay, Egon Schiele, Leben, Briefe, Gedichte, Salzburg-Vienna, 1979, fig. 50, illustrated p. 104; fig. 213, illustrated p. 542 Erwin Mitsch, Egon Schiele, 1890-1918, Salzburg, 1988, n.n., illustrated pl. 3 Jane Kallir, Egon Schiele, The Complete Works, New York, 1998, no. 322, fig. 28, illustrated p. 384 Jane Kallir, Egon Schiele, Life and Work, New York, 2003, illustrated p. 57 Josep Minguet (ed.), Egon Schiele, Barcelona, 2008, n.n., illustrated p. 37 Catalogue Note Executed in 1909, Porträt des Komponisten Arthur Löwenstein is one of the artist’’’’s greatest early portraits. Schiele and Löwenstein first met at secondary school in Klosterneuburg where neither showed much interest in academic studies and often instead spent their lessons one secretly drawing and the other composing. In the present work, Schiele portrays Löwenstein as a member of the 1909 newly formed Neue Kunstgruppe (New Art Grup), a group of young creatives yearning for a contemporary Austrian art free of the limitations of imitational art as it was being taught at the Academy. This portrait marks an important stage of transition for the young artist. The influence of Gustav Klimt, at the time the most celebrated portrait painter in Vienna, is apparent. Yet Schiele is noticeably in pursuit of his very own signature style. Despite the advent of photography, and unlike everywhere else in Europe, portraiture remained en vogue in Austria, where direct contact between artists and patrons built the basis for a flourishing market of portraits and commissions. Klimt’’’’s highly decorative style, both modern and flattering, appealed to Vienna’’’’s leading industrialists and entrepreneurs. Schiele is said to have first encountered Klimt’’’’s work at the 1908 Kunstschau. In response to this experience he took up a series of ambitious portraits in the manner of Klimt. The older artist seems to have recognised Schiele’’’’s talent, inviting him to participate in the 1909 ‘Kunstschau’’’’. Here Schiele received significant stimulus from a variety of sources which inevitably led to his resignation from the Academy the same year and heralded his career as an independent artist. Simultaneously, Schiele’’’’s initial adoption of the Klimt format to portraiture made place for an increasingly original application of Jugendstil techniques. The present portrait signifies an important stage of transition and indicates what soon would become stylistically synonymous with Schiele’’’’s art. Klimt’’’’s influence is evident in the ornamental dense cluster of rings and lines of Löwenstein’’’’s coat and his triangulated pose, the strong emphasis on face and hands through colour as well as fine details such as the dark curling hair. Where Klimt played off two-dimensional ornamentation against realistically rendered faces and hands, Schiele retains the organic integrity of the body. Unlike Klimt who tends to position his sitter to one side, Schiele here places the figure at the centre of the sheet. Owed to Jugendstil is the use of negative space; whilst Klimt used to set off his figures against a densely worked background, Schiele leaves the figure with no background or visible context – a stylistic practice that would remain with Schiele for the rest of his life. The result is an impressive and successful new statement, a portrait, which as Alessandra Comini explains, goes far beyond a simple likeness: ‘The Löwenstein portrait is a more serious statement of character. The compositional motif of the self-enclosing folded arms reflects the mental isolation of the brooding or sleeping sitter and Schiele’’’’s irregular contour line begins to function on a subjective as well as decorative level’’’’ (Alessandra Comini, Egon Schiele Portraits, London, 1990, p. 32).
Egon Schiele - Zwei Mädchen

Egon Schiele - Zwei Mädchen

Original 1914-15
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Lot number: 275
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Egon Schiele (1890-1918) Zwei Mädchen (Liebendes Paar) black crayon on paper 12 3/8 x 19 in. (31.4 x 48.3 cm.) Drawn in 1914-1915 Provenance Heinrich Böhler, Vienna (with his collector's stamp; lower right); sale, Dorotheum, Vienna, 16 June 1971, lot 311. Anonymous sale, Galerie Kornfeld, Bern, 19 June 1998, lot 140. Anonymous sale, Galerie Kornfeld, Bern, 25 June 1999, lot 138. Acquired at the above sale by the father of the present owner. Pre-Lot Text THE PROPERTY OF A PRIVATE EUROPEAN COLLECTOR Literature J. Kallir, Egon Schiele, The Complete Works, London & New York, 1998, no. 1724 (illustrated p. 550).
Egon Schiele - ?sterreichisches Mäderl

Egon Schiele - ?sterreichisches Mäderl

Original 1910
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Lot number: 3
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Egon Schiele (1890-1918) ?sterreichisches Mäderl gouache, watercolour and charcoal on paper 17¾ x 12½ in. (45.1 x 31.7 cm.) Executed in 1910 Provenance Otto Benesch. Eva Benesch, by descent from the above in 1964. Acquired from the above by the father of the present owner in 1982. Pre-Lot Text THE PROPERTY OF A PRIVATE EUROPEAN COLLECTOR Literature O. Benesch, Egon Schiele als Zeichner, Vienna, 1951 (illustrated pl. 3). W. Hofmann, 'L'Espressionismo in Austria', in L'Arte Moderna, vol. 3, no. 20, 1967, p. 79. G. Malafarina, L'Opera di Egon Schiele, Milan, 1982, no. D19. J. Kallir, Egon Schiele: The Complete Works, London & New York, 1998, no. D.407, p. 394 (illustrated; illustrated again p. 72). Exhibited Vienna, Albertina, Egon Schiele: Gedächtnisausstellung, October - November 1948, no. 57. Vienna, Albertina, Gustav Klimt - Egon Schiele: zum Gedächtnis ihres Todes vor 50 Jahren, April - June 1968, no. 148, p. 91 (illustrated). New York, Galerie St Etienne, Egon Schiele: Watercolors and Drawings, October - December 1968, no. 35 (illustrated).
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