Egon Schiele

Otto Benesch, Vienna
Serge Sabarsky, New York
Acquired from the estate of the above by the present owner

Vienna, Graphische Sammlung Albertina, Egon Schiele: Gedächtnisausstellung, 1948, no. 15
Des Moines, Des Moines Art Center; Columbus, Gallery of Fine Arts & Chicago, The Art of Chicago, Egon Schiele and Watercolours, 1971-72, no. 3, illustrated in the catalogue
New York, Sabarsky Gallery, Expressionists, 1972-73, no. 64, illustrated in colour in the catalogue
Tokyo, Seibi Museum of Art, Egon Schiele: An Exhibition of Watercolours and Drawings, 1979, no. 16, illustrated in the catalogue
London, Marlborough Fine Art, Egon Schiele: An Exhibition of Watercolours and Drawings, 1979, no. 18
Vienna, Historisches Museum der Stadt Wien; Linz, Neue Galerie der Stadt Linz; Munich, Museum Villa Stuck & Hanover, Kestner-Gesellschaft, Egon Schiele: Aquarelle und Zeichnungen, 1981-82, no. 31, illustrated in the catalogue
Rome, Pinacoteca Capitolina & Venice, Ca'Pesaro Galleria Internazionale d'Arte Moderna, Egon Schiele, 1984, no. 71, illustrated in colour in the catalogue
Vienna, BAWAG Fondation, Egon Schiele: 100 Zeichnungen, Aquarelle, 1991-93
Cesky Krumlov, Mezinarodni Kulturni Centrum Egona Schieleho, Egon Schiele, 1997

Alessandra Comini, Egon Schiele's Portraits, Berkeley, 1974, illustrated pl. 55
Paris, Musée-Galerie de la Seita, Egon Schiele, Cent œuvres sur papier, 1992-93, illustrated p. 25
Jane Kallir, Egon Schiele: The Complete Works, London, 1998, no. 641, illustrated p. 420

Executed on buff-coloured wove paper, not laid down, hinged to the mount at the top two corners, floating in the mount. There are artist's pinholes to all four corners. Apart from a 1cm. repaired tear to the centre of the upper edge, some light flattened creases to the corners, and some handling marks to the edges, this work is in good condition. Colours: The paper tone is much warmer in the original whilst the colours are richer and much more vibrant. Overall the red tones are more pronounced in the original.
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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."

This strikingly haunting image is a study for a portrait of Schiele's patron, Dr. Oskar Reichel, painted in oil in the same year (see: Jane Kallir, op. cit., no. 166). Reichel (1869-1941), a Viennese physician and a collector of considerable wealth, was introduced to Schiele by Arthur Roessler in late summer or early autumn 1910. He became one of Schiele's most important patrons until about 1913, and was also a noted patron of his contemporary Oskar Kokoschka. In the present work, as well as in the group of studies and the final painting, Schiele depicts Dr. Reichel with his distinct forehead and powerful gaze, with an expressive intensity that fully reflects the complex character of the sitter.