Gustav Klimt

Emilie Flöge, Vienna
Richard Teschner, Vienna (probably acquired from the above; until 1948) 
Acquired from the estate of the above by the present owner in 1953

Emil Pirchan, Gustav Klimt, ein Künstler aus Wien, Vienna & Leipzig, 1942, no. 94, illustrated
Emil Pirchan, Gustav Klimt, Vienna, 1956, no. 135, illustrated
Lo Duca, Eros in der Kunst, Munich, Vienna & Basel, 1968, illustrated p. 195
Alice Strobl, Gustav Klimt, Die Zeichnungen 1904-1912, Salzburg, 1982, no. 1613, illustrated pp. 111 & 125

Executed on cream wove paper, not laid down, hinged to the mount in the top two corners, floating in the mount. Apart from some light handling creases, this work is in good original condition. Colours: Overall fairly accurate, although the red is brighter and the paper tone is slightly darker in the original.
"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."

Stehender Halbakt mit langen Haaren, Halsband, die linke Hand an der Schulter belongs to a series of works depicting female nudes mostly in striding poses which Klimt executed in 1906-07. The female's figure is silhouetted in soft red outlines, her left hand elegantly posed on the shoulder. The fashionable necklace and her full flowing hair brilliantly accessorise the model's lasciviously erotic pose and effectively accentuate her eyes, whilst the delicacy and suppleness of execution suggest the artist's emotional and spiritual closeness to the model. Portrayed in profile, the woman's gaze is directed into the distance as if caught in her own act seemingly unaware of being watched. The viewer here does not act as a participant in a process of sexual exploration, but merely as voyeur.

The present work once belonged to Emilie Flöge, the artist's muse and rich source of inspiration and was subsequently acquired by Richard Teschner, a famous photographer at the time, associated with the Wiener Werkstätte and close friend of Gustav Klimt and Emilie Flöge.