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Egon Schiele

Austria (1890 -  1918 ) Wikipedia® : Egon Schiele
SCHIELE Egon Male Nude (self Portrait) I (kallir 1)

Sotheby's
Oct 23, 2017
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Artworks in Arcadja
898

Some works of Egon Schiele

Extracted between 898 works in the catalog of Arcadja
Egon Schiele - Self-portrait

Egon Schiele - Self-portrait

Original 1917
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Lot number: 4
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Egon Schiele (Tulln 1890-1918 Vienna) Self-portrait, 1917, bronze, green patina, signed Egon Schiele, numbered 269/300 casts (+30 numbered in Roman numerals) from 1980, height 28.5 cm, cast: Venturi Arte Bologna Jane Kallir, Egon Schiele. The Complete Works, New York, 1998, page 651, no. S-4f Specialist: Mag. Elke Königseder
Egon Schiele - Portrait Of The Art Dealer Paul Wengraf

Egon Schiele - Portrait Of The Art Dealer Paul Wengraf

Original 1917
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Lot number: 218
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Egon Schiele (Tulln 1890 - 1918 Wien) Portrait of the art dealer Paul Wengraf, 1917 black chalk on paper; 45 x 29,5 cm signed and dated on the lower right: Egon / Schiele / 1917 collection stamp Viktor Fogarassy on the reverse Provenance Paul Wengraf (acquired directly from the artist); Arcade Gallery London; Stuttgarter Kunstkabinett, 21. - 22. November 1958, 32. auction, no. 952; collection Viktor Fogarassy; Galerie Würthle, Vienna; private collection, Italy Exhibitions 1917 Stockholm, Liljevalche Konsthall, Sept.; 1967 Darmstadt, Mathildenhöhe, 2. Internationale der Zeichnung, 16. July - 9. Sept., no. 86 (ill.); 1973 Innsbruck, Galerie im Taxispalais, Gustav Klimt, Egon Schiele: Zeichnungen and Aquarelle, July - Aug., no. 43 (ill.); 1980 Vienna, Galerie Würthle, 60 Jahre moderne Kunst in Austria, 6. May - 7. June, Kat.-ill. p. 157 Literature Christian M. Nebehay, Egon Schiele, 1979, p. 575, ill. 274; Christian M. Nebehay, Egon Schiele. Leben and Werk, Residenz Verlag, 1980, p. 188, ill. 182; Jane Kallir, Egon Schiele. The complete works, New York 1990, p. 592, No. 2093
Egon Schiele -  Head Of A Woman

Egon Schiele - Head Of A Woman

Original 1918
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Lot number: 2
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Egon Schiele (Tulln 1890–1918 Vienna) Head of a woman, signed, dated Egon Schiele 1918, black crayon on paper, sheet size 46.3 x 29.5 cm, framed Jane Kallir, Egon Schiele: The Complete Works, New York 1990, p. 607, No. D. 2209, with ill. Jane Kallir, Egon Schiele: The Complete Works, New York 1998, p. 607, No. D. 2009, with ill. Provenance: Private Collection, Salzburg, since the early 1930s TEXT BY JANE KALLIR © Jane Kallir Egon Schiele reached the peak of his professional success in 1918. A virtually sold-out exhibition at the Vienna Secession in March affirmed his position as Austria\’s leading artist. (Oskar Kokoschka was then living in Germany, and Gustav Klimt had, sadly, died in February.) Schiele\’s new stature brought in a host of portrait commissions, and for the first time, a significant number of his clients were women. Although the artist would not live to execute any of these women\’s commissions in oil, his drawings from 1917-18 evidence the artist\’s newfound sensitivity to female portrait subjects. It may be assumed that Frauenkopf was a commissioned portrait. However, since this is the only known depiction of the sitter, it is unlikely that an oil was planned. As was his custom, Schiele here focused on the face and the hands. He was not alone among artists in considering these the most evocative human features. The subject of Frauenkopf has not been identified. By 1918, Schiele\’s skill as a draughtsman was so highly refined that he could capture his subject in a single, virtually unbroken sweep of the crayon. Always a speedy worker, he had found the perfect line. He had no need, as formerly, to redraw or embellish faulty contours, though he did on occasion make mistakes in draftsmanship. These mistakes should not be ascribed to sloppiness, but rather to pace. The artist\’s extraordinary velocity, like that of a master racecar driver, occasionally caused him to veer off course. Usually, however, he was in complete control, and in drawings such as Frauenkopf Schiele achieved an unprecedented degree of accuracy. Few artists in history have managed to express the spirit of their subjects with such economy of means.
Egon Schiele - Kniende Frau

Egon Schiele - Kniende Frau

Original 1912
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Lot number: 50
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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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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
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