EGON SCHIELE (1890-1918)
EGON SCHIELE (1890-1918)
EGON SCHIELE (1890-1918)
EGON SCHIELE (1890-1918)
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PROPERTY FROM THE COLLECTION OF THE VIENNESE CABARET AND FILM STAR FRITZ GRÜNBAUM
EGON SCHIELE (1890-1918)

Bildnis Edith Schiele

细节
EGON SCHIELE (1890-1918)
Bildnis Edith Schiele
signed and dated 'EGON SCHIELE 1915' (lower right)
pencil on paper
18 1⁄8 x 12 ¼ in. (46 x 31 cm.)
Drawn in 1915
来源
Franz Friedrich "Fritz" Grünbaum, Vienna (from whom spoliated after March 1938).
Gutekunst & Klipstein, Bern (1956).
Galerie St. Etienne, New York (acquired from the above, September 1956).
Wright S. Ludington, Santa Barbara (acquired from the above, 1957).
Santa Barbara Museum of Art (gift from the above, 1957).
Restituted to the heirs of Fritz Grünbaum (2023).
出版
A. Moir, European Drawings in the Collection of the Santa Barbara Museum of Art, Santa Barbara, 1976, p. 112, no. 1 (illustrated, p. 113).
J. Kallir, Egon Schiele: The Complete Works, Including a Biography and Catalogue Raisonné, New York, 1990, p. 548, no. 1711 (illustrated).
R. Price, ed., Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Foundation, exh. cat., Neue Galerie, New York, 2005, p. 471.
展览
Bern, Gutekunst & Klipstein, Egon Schiele: Bilder, Aquarelle, Zeichnungen, Graphik, September-October 1956, p. 25, no. 36 (illustrated; with incorrect dimensions).
New York, Galerie St. Etienne, Egon Schiele: Watercolors and Drawings, January-February 1957, p. 16, no. 23 (illustrated, p. 28).
Berkeley, University Art Gallery and Pasadena Art Museum, Viennese Expressionism 1910-1924, February-April 1963, p. 19, no. 66.
Des Moines Art Center; Columbus Gallery of Fine Arts and The Art Institute of Chicago, Egon Schiele and the Human Form: Drawings and Watercolors, September 1971-February 1972, no. 46 (illustrated).

荣誉呈献

Margaux Morel
Margaux Morel Associate Vice President, Specialist and Head of the Day and Works on Paper sales

拍品专文

This portrait of Egon Schiele’s wife, Edith Harms, is emblematic of his renderings of her from the late teens. After their wedding in June 1915, the year the present work was drawn, Schiele went on to produce a number of pictures of her in pencil, watercolor, gouache and oil. In the present drawing, Schiele’s iconic rendering of Edith’s updo, elongated face and her alert hypnotic gaze are particularly striking. The portrait’s swift and powerful lines also testify to the artist’s confidence as a draftsman, particularly in the rendering of his wife’s likeness.

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