Egon Schiele

Michael Landrichter, Vienna
Private Collection (acquired in the 1940s; sale: Sotheby's, London, 9th December 1997, lot 93)
Private Collection (purchased at the above sale)
Acquired by the present owner in the late 1990s

Jane Kallir, Egon Schiele: The Complete Works, New York, 1990, no. 1824a, illustrated p. 675

Executed on cream wove paper, not laid down, hinged to the mount at the top two corners. There is 1cm. repaired tear, with some associated paper infill, to the left edge near the top corner. There are several tiny repaired tears to the left side of the upper edge, and three tiny repaired tears to the right edge. Apart from two very faint flattened creases to the lower right corners, this work is in good condition.
"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."

Towards the end of 1915, Schiele's work shifted from Expressionistic exuberance towards a paired down verisimilitude. This development was in many ways a graphic response to changes in Schiele's life; his marriage to Edith and his enlistment as a soldier forced the artist to confront the world in a new, more realistic light. Instead of the grand, fantastical allegories that had been common subjects up to this point, he increasingly focused on people and places that he came across in his daily routine.

Sitzender weiblicher Akt is an exquisite example of the naturalistic style that Schiele cultivated during this period. He increasingly used black crayon in his work because it created a firm, unwavering line, and focused his attention on the problems of rendering volume and shape in a spare, graphic manner. The economy of this work, which manages to capture both the fall of the drapery and the angular contours of the sitter's limbs with a few simple lines, is a testament to phenomenal draughtsmanship of the artist.