5
5

PROPERTY FROM THE LEOPOLD MUSEUM, VIENNA

Egon Schiele
SELBSTDARSTELLUNG IN GRÜNEM HEMD MIT GESCHLOSSENEN AUGEN (SELF-PORTRAIT IN GREEN SHIRT WITH EYES CLOSED)
Estimation
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
1 800 0002 500 000
Lot. Vendu 5,081,250 GBP (Prix d’adjudication avec commission acheteur)
ACCÉDER AU LOT
5

PROPERTY FROM THE LEOPOLD MUSEUM, VIENNA

Egon Schiele
SELBSTDARSTELLUNG IN GRÜNEM HEMD MIT GESCHLOSSENEN AUGEN (SELF-PORTRAIT IN GREEN SHIRT WITH EYES CLOSED)
Estimation
Irrevocable Bids
Lots with this symbol indicate that a party has provided Sotheby’s with an irrevocable bid on the lot that will be executed during the sale at a value that ensures that the lot will sell. The irrevocable bidder, who may bid in excess of the irrevocable bid, will be compensated based on the final hammer price in the event he or she is not the successful bidder or may receive a fixed fee in the event he or she is the successful bidder. If the irrevocable bidder is the successful bidder, the fixed fee (if applicable) for providing the irrevocable bid may be netted against the irrevocable bidder’s obligation to pay the full purchase price for the lot and the purchase price reported for the lot shall be net of such fixed fee. If the irrevocable bid is not secured until after the printing of the auction catalogue, a pre-lot announcement will be made indicating that there is an irrevocable bid on the lot. If the irrevocable bidder is advising anyone with respect to the lot, Sotheby’s requires the irrevocable bidder to disclose his or her financial interest in the lot. If an agent is advising you or bidding on your behalf with respect to a lot identified as being subject to an irrevocable bid, you should request that the agent disclose whether or not he or she has a financial interest in the lot.
Guaranteed Property
Guaranteed Property. The seller of lots with this symbol has been guaranteed a minimum price from one auction or a series of auctions. If every lot in a catalogue is guaranteed, the Conditions of Sale will so state and this symbol will not be used for each lot.
1 800 0002 500 000
Lot. Vendu 5,081,250 GBP (Prix d’adjudication avec commission acheteur)
ACCÉDER AU LOT

Details & Cataloguing

Impressionist and Modern Art Evening Sale

|
Londres

Egon Schiele
1890 - 1918
SELBSTDARSTELLUNG IN GRÜNEM HEMD MIT GESCHLOSSENEN AUGEN (SELF-PORTRAIT IN GREEN SHIRT WITH EYES CLOSED)
signed Egon Schiele and dated 1914 (lower right)
gouache and pencil on paper
48.5 by 32cm.
19 1/8 by 12 1/2 in.
Executed in 1914.
Lire le rapport d'état Lire le rapport d'état

Provenance

Heinrich Stinnes, Cologne
Private Collection, Germany (by descent from the above. Sold: Gutekunst & Klipstein, Bern, 20th-22nd June 1938, lot 1051)
Zdenko Bruck, Bern & Buenos Aires (purchased at the above sale. Sold: Galerie Kornfeld, Bern, 21st June 1980, lot 1297)
Rudolf Leopold, Vienna (purchased at the above sale)
Leopold Museum, Vienna (acquired in 1994)

Exposition

Brussels, Palais des Beaux-Arts, Klimt, Schiele, Kokoschka, 1981, no. 84, illustrated in the catalogue
Tokyo, Isetan Museum; Nagoya, Aichi Prefectural Museum; Nara, Nara Prefectural Museum; Kofu City, Yamanashi Prefectural Museum & Kamakura, Kamakura Museum of Art, Egon Schiele und Wien zur Jahrhundertwende, 1986, no. 46, illustrated in colour in the catalogue
Munich, Städtische Galerie im Lenbachhaus, Der Kampf der Geschlechter, 1995
Tübingen, Kunsthalle; Düsseldorf, Kunstsammlung Nordrhein-Westfalen; Hamburg, Hamburger Kunsthalle; Graz, Neue Galerie am Landesmuseum Joanneum; New York, The Museum of Modern Art; Barcelona, Museu Picasso & Tulln, Stadtgemeinde Tulln, Egon Schiele: Die Sammlung Leopold, Wien, 1995-98, no. 108, illustrated in colour in the catalogue
Vienna, Leopold Museum & Oldenburg, Horst-Janssen-Museum, Egon Schiele – Horst Jannsen: Selbstinszenierung. Eros und Tod, 2004-05, no. 6, illustrated in colour in the catalogue

Bibliographie

Rudolf Leopold, Egon Schiele: Blätter aus Privatbesitz, Teil 1, Faksimile der Moderne, Graz, 1985, illustrated in colour pl. 5
Jane Kallir, Egon Schiele: The Complete Works, New York, 1998, no. 1655, illustrated p. 541
Sonja Niederacher, www.bmukk.gv.at/medienpool/20883/dossier_schiele_sbgaug.pdf

Description

Selbstdarstellung in grünem Hemd mit geschlossenen Augen, executed in 1914, is an outstanding example of Egon Schiele’s ability to create electrifying self-portraiture. The breath-taking acuity of Schiele’s line heightens the tension created between the skin’s delicate pallor and the dazzling emerald smock, and highlights the ingenuity of Schiele’s gouache technique. The artist’s predominant mode of self-portraiture prior to 1915 was to construct a mythical persona, whose shielded eyes and hermitically austere clothing signified the figure's prophetic powers of self-awareness (figs. 1 & 2). The tightly wrung hands are archetypical of his use of gesture as a visual rendition of complex emotional and artistic attitudes.

The present work shares many of the characteristics that Schiele had already begun to use the previous year. In particular the simple costume of brilliantly coloured robes and smocks helped to enhance the ‘prophetical’ postures made by his gaunt doppelgängers (fig. 4), the rich colours helping to remove traces of conventional religious piety. The emaciated, skull-like features and etiolated fingers express the spiritual hunger and suffering of the ‘Artist’, and are further extensions of the allegorical sentiments expressed by his shielded eyes. Commenting on the importance of this subject, Vivien Gaston wrote: ‘Egon Schiele’s sensational self-portraits explore a new vision of the relation between mind, body, and emotion. In attitudes of dance-like eloquence, he mobilises his whole body, expressing sexual vitality, vulnerability, suffering and malaise’ (V. Gaston, Vienna: Art & Design - Klimt, Schiele, Hoffmann, Loos (exhibition catalogue), National Gallery of Victoria, Melbourne, 2011, p. 146). 

Discussing the remarkable metaphorical images Schiele executed of himself, Jane Kallir writes: ‘Schiele’s allegorical self-representations were not intended to be autobiographical statements, but it is nonetheless obvious that blindness, for an artist, was an unfortunate choice of theme. As a ‘self-seer,’ Schiele had formerly been extraordinarily attuned to his own internal responses, but at times blind to the outside world. In order to make more meaningful contact with others, would the artist have to lose touch with himself?’ (J. Kallir, Egon Schiele, Drawings and Watercolours, New York, 2003, p. 279). Schiele’s obsessive creation of self-portraits culminated in the monumental Entschwebung (Die Blinden II) and in the lost work Begegnung (fig. 3). These grand allegorical paintings used the format of self-depiction established in fully worked gouaches such as Selbstdarstellung in grünem Hemd mit geschlossenen Augen.

Alessandra Comini suggests that in 1914 Schiele had an additional, rather extraordinary, use for self-portraiture. During his early courtship of his neighbours, the Harms sisters - Adele and Edith – the artist produced a number of strongly coloured, daringly posed self-portraits. Comini recounts that these two well brought up girls would watch Schiele as he worked through their windows across the Hietzinger Hauptstrasse and ‘when Schiele discovered their attention, he responded with outlandish pantomimes and began drawing large pictures of himself wearing nothing but his short, sleeveless painting jerkin. He would hold the brightly coloured drawings out of his window to tease and shock the girls’ (A. Comini, Egon Schiele Portraits, Berkeley & Los Angeles, 1974, pp. 136-137). The renewed vigour with which Schiele produced this stream of self-portraits stemmed from the need to promote himself, as well as his art, to the sisters. Therefore he created bold, highly stylised images that were unmistakable representations of himself as well as personifications of the ‘self-seer’.


Impressionist and Modern Art Evening Sale

|
Londres