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PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

1890-1918
MÄDCHEN IN BLAUEM KLEID (GIRL IN BLUE DRESS)

measurements
47.8 by 31.7cm.

alternate measurements
18 3/4 by 12 1/2 in.

Executed in 1911.

signed Egon Schiele and dated 1911. (centre left)

watercolour and pencil on paper

PROVENANCE

Erich Schall (acquired from the artist)
Heinrich Stinnes, Cologne (sale: Gutekunst & Klipstein, Bern, 20th-22nd June 1938, lot 1048)
Zdenko Bruck, Argentina
Galerie St. Etienne, New York (aquired from the above in 1964)
Norman Granz (sale: Sotheby Parke Bernet, New York, 2nd November 1978, lot 133b)
Purchased at the above sale by the present owner

EXHIBITED

New York, Galerie St. Etienne, Egon Schiele: Watercolors and Drawings from American Collections, 1965, no. 28, illustrated in colour in the catalogue
Munich, Haus der Kunst, Egon Schiele, 1975, no.138, illustrated in the catalogue

LITERATURE

Simon Wilson, Egon Schiele, Ithaca, New York, 1980, illustrated pl. 34
Jane Kallir, Egon Schiele: The Complete Works, New York, 1998, no. 875, illustrated p. 447

NOTE

Mädchen in blauem Kleid, dating from 1911, depicts one of the numerous child models Schiele used for his works around this time. The girl is wearing a dark-blue dress that is slightly lifted showing her underskirt with crimson edges. Her expressive facial features are characteristic of the artist's avant-garde style and his rendering of the human image. His friend, the artist Albert Paris von Gütersloh, recalled: '... there were always two or three smaller or larger girls in [Schiele's] studio; girls from the neighbourhood, from the street, ..., some ugly, some attractive, some washed, but also some unwashed. ... they slept, ..., combed their closely cropped or tangled hair, pulled their skirts down or up, tied or untied their shoelaces. They feared nothing from the paper that lay next to Schiele on the sofa, and the young man was always playing with the pencil or the brush. ... Suddenly, and although he didn't appear to have been paying attention at all, he would say very softly ... 'stop!'. And now, as if under the spell of his magic, they froze as they were -- lying, standing, kneeling, relaxing, tying or untying, pulling down or up, combing themselves or scratching themselves -- as though they had been banished to timelessness or covered with lava, and then, in a twinkling, brought back to life' (quoted in Jane Kallir, Egon Schiele. Life and Work, New York, 2003, p. 75)