Gustav Klimt

Melanie & Max Ungetühm, Vienna (a gift from the artist)
Private Collection, Austria (by descent from the above)
Thence by descent to the present owner in 2012

Sheet: Executed on cream wove paper, not laid down and suspended in the frame with a backing board. The right and left edges are very slightly unevenly cut. There are some very fine flattened creases and there are a few spots of studio dirt in places. This work is in very good original condition. Frame: There is some handling wear along the edges of the frame and a few areas of surface abrasion. This work is in overall good original 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."

This female portrait is very similar to a drawing reproduced in Ver Sacrum in 1899 (Issue 5, p. 29). Common to both depictions are the luminous face in profile, the distinctive nose, the plaid hat and the dark, high collar. The sitter in the present work is anonymous, as are all other portraits drawn by Klimt around 1897-98.

The narrow, vertical format and the fragment-like composition are typical of works from the formative years of the Secession circa 1897-98. The subtly stylised floral motif of the ornamental frame, which was designed by Georg Klimt, Gustav’s brother, is also characteristic of this period. Additionally, the triangular clusters of beads along the upper edge of the frame are reminiscent of the early Secessionist emblem that is comprised of three shields representing painting, sculpture and architecture. Georg Klimt designed frames for other well-known works such as Pallas Athene (1898) and Nuda Veritas (1899) that create an aesthetic unity between the frame and painting, as is evident in the present work. This Gesamtkunstwerk is a prime example of a modernist collaboration of the Klimt brothers.  

The present work is a wonderful and rare example of Klimt's pastel technique, which he used in particular for his series of female portraits of the late 1890s. Klimt applies the coloured crayons freely throughout the composition, interspersing the deep blue tones with red highlights; the woman’s profile is delineated with a subtle outline whereas her clothing is formed by densely overlapping lines from which her bare right hand emerges. The mysterious shimmering background formed by long, vertical lines is typical of this period. In the present work, Klimt achieves richly nuanced colours and evocative areas of light and shadow exclusively through the use of line.

Text written by Marian Bisanz-Prakken