- 6
Gustav Klimt
Estimate
120,000 - 150,000 GBP
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Description
- Gustav Klimt
- Liegender Halbakt Nach Rechts (Half-nude reclining to the right)
- stamped with the Gustav Klimt Nachlass stamp (on the verso)
- pencil on paper
- 37 by 54.9cm., 14 1/2 by 23 1/2 in.
Provenance
Private Collection, New York
Sale: Sotheby's New York, 8th May 2013, lot 422
Purchased at the above sale by the present owner
Sale: Sotheby's New York, 8th May 2013, lot 422
Purchased at the above sale by the present owner
Exhibited
Paris, Salle Saint Jean—L'Hôtel de Ville de Paris, Gustave Klimt, Oskar Kokoschka, Egon Schiele: Dessins et Aquarelles, 1984, no. 24, illustrated in the catalogue
Rouen, Musée des Beaux-Arts de Rouen & Ceský Krumlov, Egon Schiele Art Centrum, Gustav Klimt, Oskar Kokoschka, Egon Schiele: Dessins et Aquarelles, 1995-96
Rouen, Musée des Beaux-Arts de Rouen & Ceský Krumlov, Egon Schiele Art Centrum, Gustav Klimt, Oskar Kokoschka, Egon Schiele: Dessins et Aquarelles, 1995-96
Literature
Alfred Werner, Gustav Klimt: One Hundred Drawings, New York, 1972, no. 85, illustrated pl. 85
Alice Strobl, Gustav Klimt, Die Zeichnungen, 1912-1918, vol. III, Salzburg, 1984, no. 2404, illustrated p. 71
Alice Strobl, Gustav Klimt, Die Zeichnungen, 1912-1918, vol. III, Salzburg, 1984, no. 2404, illustrated p. 71
Condition
Executed on cream wove paper, not laid down, affixed to the backing board intermittently along the edges and floating in the mount. The upper and left edges are slightly unevenly cut. The sheet is slightly undulating and there are a few faint flattened creases. There are some tiny scattered spots of foxing. This work is in overall good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
Design quote:
'In the drawings, Klimt gives pride of his own gaze, the gaze of the artist and expert, the male and the master which is directed at the woman that he sketches. Accordingly, these women do not return the gaze. ... Klimt became nothing but an eye, nothing but a hand, purely from the feeling that moved and enraptured him, was in love with the nature of his subject and he let himself be carried away without restraint' (R. Metzger, Gustav Klimt, Drawings and Watercolours, London, 2005, p. 207).
'In the drawings, Klimt gives pride of his own gaze, the gaze of the artist and expert, the male and the master which is directed at the woman that he sketches. Accordingly, these women do not return the gaze. ... Klimt became nothing but an eye, nothing but a hand, purely from the feeling that moved and enraptured him, was in love with the nature of his subject and he let himself be carried away without restraint' (R. Metzger, Gustav Klimt, Drawings and Watercolours, London, 2005, p. 207).