Egon Schiele (1890-1918)

Weiblicher Torso in Unterwäsche und schwarzen Strümpfen

Egon Schiele (1890-1918)
Weiblicher Torso in Unterwäsche und schwarzen Strümpfen
signed and dated 'EGON SCHIELE 1917' (lower center)
gouache, watercolor and black crayon on paper
18 1/8 x 11¾ in. (46 x 29.8 cm.)
Executed in 1917
Benedikt Fred Dolbin, Vienna and New York.
Acquired from the above by the present owner.
S. Sabarsky, Egon Schiele: Watercolors and Drawings, New York, 1983, p. 91, no. 32 (illustrated in color).
S. Sabarsky, Egon Schiele, New York, 1985, p. 223, no. 153 (illustrated in color).
J. Kallir, Egon Schiele: The Complete Works, New York, 1990, p. 579, no. 1975 (illustrated).
J. Kallir, Egon Schiele: The Complete Works, New York, 1998, p. 579, no. 1975 (illustrated).
Munich, Galerie Ilse Schweinsteiger, August 1976.
Vienna, Galerie Würthle, April 1977.
Salzburg, Galerie Welz, June 1977.
Tokyo, Seibu Museum of Art, Egon Schiele, April-June 1979, no. 58 (illustrated in color).
London, Marlborough Fine Art, Egon Schiele: An Exhibition of Watercolors and Drawings, June-August 1979, no. 49 (illustrated).
Noyon, Galerie Loyse von Oppenheim, May-July 1980.
Vienna, Historisches Museum der Stadt Wein; Neue Galerie der Stadt Linz; Munich, Museum Villa Stuck and Hannover, Kestner-Gesellschaft, Egon Schiele: Zeichnungen und Aquarelle, September 1981-June 1982, no. 97 (illustrated).
Rome, Pinacoteca Capitolina; Venice, Galleria Internazionale d'arte Moderna, Ca' Pesaro and Martigny, Fondation Pierre Gianadda, Egon Schiele, June 1984-January 1987, no. 153 (illustrated).
Charleroi, Palais des Beaux-Arts, Egon Schiele, September-December 1987, no. 99 (illustrated).
Städtische Galerie Rosenheim; Florence, Palazzo Strozzi; Herforder Kunstverein im Daniel-Pöppelmann-Haus; Leverkusen, Erholungshaus der Bayer A.G.; Frankfurt, Jahrhunderthalle Hoechst; Bari, Castello Svevo; Genoa, Museo Villa Croce; Ferrara, Padiglione d'Arte Contemporanea di Palazzo Massari; Linz, Oberösterreichisches Landesmuseum; Städtische Galerie Bietigheim-Bissingen; Berlin, Käthe-Kollwitz-Museum; Passau, Museum Moderner Kunst; Ulmer Museum; Prague, Palais Wallenstein and Paris, Musée-Galerie de la Seita, Egon Schiele: 100 Zeichnungen und Aquarelle, May 1988-February 1993, no. 88.
Roslyn, Nassau County Museum of Art, Egon Schiele: 1890-1918 A Centennial Retrospective, January-April 1990, no. 88.
Aix-en-Provence, Musée Granet; Albi, Musée Toulouse-Lautrec; Lisbon, Culturgest; Aschaffenburg, Galerie Jesuitenkirche and Blumeninsel Mainau, Schloss Mainau, Egon Schiele: cent oeuvres sur papier, June 1993-November 1994, no. 91.
Martigny, Fondation Pierre Gianadda, Egon Schiele, February-May 1995, p. 181, no. 115 (illustrated in color).
Bad Frankenhausen, Panorama Museum; Städtische Galerie Klagenfurt; Kracow, International Cultural Center and Ljubljana, Cankarjev Dom Fine Art Gallery, Egon Schiele: 100 Zeichnungen und Aquarelle, November 1995-June 1997, no. 91.
New York, The Serge Sabarsky Foundation, Egon Schiele: Drawings and Watercolors, June 1996.
New York, Neue Galerie, Egon Schiele: The Ronald S. Lauder and Serge Sabarsky Collections, October 2005-February 2006, p. 421, no. D141 (illustrated in color, p. 306).

Lot Essay

This drawing is one in a series of studies that Schiele made of a young model--probably his wife Edith or perhaps his sister-in-law Adele Harms--who wears her hair pinned up and is clad in a slip, black stockings and high-heeled boots (cf. Kallir, nos. 1969, 1971-1978 and 1992-1996; a rear view of this model, no. 1976, sold Christie's New York, 6 November 2008, lot 2). Schiele purposely arranged that her state of semi-undress include garments selected for their fetish appeal, in order to titillate viewers. Indeed, the series creates the effect of a striptease, in which the model at one point appears only in her stockings (Kallir, no. 1978). In the present gouache, the artist has concentrated on the ways in which the model's silken undergarments define and accentuate the twisting form of her seated figure, taking special care to capture the dovetailed pattern in the folds of her chemise. Schiele's treatment of this subject is in his new, more naturalistic and volumetric manner of drawing (see note to lot 1), which contributed to the widening appeal that such drawings held for Viennese collectors.

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