178

Details & Cataloguing

Impressionist & Modern Art Day Sale

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Egon Schiele
1890 - 1918
SITZENDES MÄDCHEN MIT ERHOBENEM BEIN (SEATED GIRL WITH RAISED LEFT LEG)
signed with the initial S and dated 1911 (upper right)
gouache and watercolour over pencil on paper
43 by 29.5 cm., 17 1/2 by 12 1/8 in.
Executed in 1911.
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Provenance

Thomas Ammann Fine Art, Zurich
Sale: Sotheby's, New York, May 16, 1984, lot 144
Purchased at the above sale by the late owner

Exhibited

Paris, Galerie Octave Negru, Egon Schiele: Dessins et Aquarelles, 1976, no. 13, illustrated in the catalogue
Berlin, Galerie Pels-Leusden, Europaische Meisterzeichnungen und Aquarelle (1878-1978), 1978-79, no. 160, illustrated in the catalogue
New York, Gagosian Gallery, Egon Schiele: Nudes, 1994, no. 13, illustrated in the catalogue

Literature

Jane Kallir, Egon Schiele: The Complete Works, New York, 1990, no. D.877, illustrated p. 447
Jane Kallir, Egon Schiele: The Complete Works, New York, 1998, no. D.877, illustrated p. 447

Catalogue Note

Sitzendes Mädchen mit erhobenem Bein, dating from 1911, depicts one of the numerous young models Schiele used for his works around this time. The sitter is wearing a dark-blue dress that is slightly lifted showing her underskirt with crimson edges. Her expressive facial features are characteristic of the artist’s avant-garde style and his rendering of the human visage. His friend, the artist Albert Paris von Gütersloh, recalled: '… there were always two or three smaller or larger girls in [Schiele’s] studio; girls from the neighbourhood, from the street, …, some ugly, some attractive, some washed, but also some unwashed. … they slept, …combed their closely cropped or tangled hair, pulled their skirts down or up, tied or untied their shoelaces. They feared nothing from the paper that lay next to Schiele on the sofa, and the young man was always playing with the pencil or the brush. … Suddenly, and although he didn’t appear to have been paying attention at all, he would say very softly … ‘stop!’. And now, as if under the spell of his magic, they froze as they were – lying, standing, kneeling, relaxing, tying or untying, pulling down or up, combing themselves or scratching themselves — as though they had been banished to timelessness or covered with lava, and then, in a twinkling, brought back to life' (quoted in J. Kallir, Egon Schiele. Life and Work, New York, 2003, p. 75).

Impressionist & Modern Art Day Sale

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