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Egon Schiele (1890-1918)
Property from the Estate of Sophie Sampliner
Egon Schiele (1890-1918)

Frau in grüner Bluse mit Muff

Egon Schiele (1890-1918)
Frau in grüner Bluse mit Muff
signed and dated 'Egon Schiele 1915' (lower right)
gouache and pencil on paper laid down on card
19¼ x 12 in. (48.9 x 30.5 cm.)
Painted in 1915
Frederica Hohenberg.
The Galerie St. Etienne, New York.
G. Malafarina, L'opera di Egon Schiele, Milan, 1982, p. 114, no. D83 (illustrated, p. 114).
J. Kallir, Egon Schiele: The Complete Works, New York, 1990, p. 549, no. D.1721 (illustrated).
Boston, Institute of Contemporary Art; New York, The Galerie St. Etienne; Louisville, Kentucky, J.B. Speed Art Museum; Pittsburg, Carnegie Institute; and Minneapolis Institute of Arts, Egon Schiele, October 1960-May 1961, no. 51 (illustrated).
New York, The Galerie St. Etienne, Egon Schiele (1890-1918): Watercolors and Drawings from American Collections, March-April 1965, no. 56 (illustrated).
Darmstadt, Malthildenhöhe, 2. International der Zeichnung, July-September 1967, no. 73 (illustrated).
New York, The Galerie St. Etienne, Gustav Klimt, Egon Schiele, November-December 1980, no. 41 (illustrated on the cover).
Paris, Centre National d'Art et de Culture Georges Pompidou, Vienne 1880-1938: L'apocalypse joyeuse, February-May 1986.
New York, The Galerie St. Etienne, Egon Schiele (1890-1918): Watercolors and Drawings, December 1997, no. 44 (illustrated).
New York, The Galerie St. Etienne, Saved from Europe, November-December 1999, pl. 25 (illustrated).

Lot Essay

On June 17th, 1915, Egon Schiele married Edith Harms. Four days after his wedding, Schiele was inducted into the army. Following his medical exams, Schiele was classified as fit for limited service only and all his assignments were centered close to Vienna. While not on duty, he was allowed to live in his studio and continued to work throughout this time. Despite these special arrangements, Schiele still felt very oppressed by his military obligations.

In August of 1915, Schiele applied for a period of sick leave and during this time he executed a number of portrait studies of Edith in various poses, including the life-size oil Portrait of Edith Schiele Standing, which shows Edith wearing a multi-colored striped dress (Kallir P.290; Haags Gemeentemuseum, The Hague). The present work was likely to have been painted at this time. Jane Kallir has commented:

Schiele's push toward greater versimilitude and volumetric fidelity . . . persists in 1915 . . . Over the course of 1915, the increasingly naturalistic line will hew ever closer to the shape of the subject, as the element of graphic stylization progressively recedes. This development yields smoother, cleaner countours . . . A very soft pencil line (sometimes mimicking charcoal) gives the lines new strength and sensuality. The bold, Fauvistic coloring evident since 1913 is replaced by a more restrained, less expressive palette that conforms to the appearance of the subject at hand . . . Short dry strokes of gouache caress and mold the flesh; drapery, translucent from mid-1914 through early 1915, gradually becomes denser, reverting to the blocks of solid colors that Schiele had previously favored (Kallir, op. cit., p. 546).

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