Nr 100126294

Egon Schiele (1890-1918) (after) - "Kauernder Mädchenakt mit Hand auf Wange, 1917"
Nr 100126294

Egon Schiele (1890-1918) (after) - "Kauernder Mädchenakt mit Hand auf Wange, 1917"
- Egon Schiele (after), offset lithograph on heavyweight textured matte paper (300gsm approx.).
- Plate signed.
- Embossing stamp.
- Stamp on verso.
- Size: 42,5 x 63,5 cm.
- Condition: excellent. Never framed, never exposed.
- Egon Schiele (1890–1918) was one of the most radical and influential figures of early 20th-century Expressionism. A protégé of Gustav Klimt, Schiele quickly broke away from decorative Jugendstil to develop a raw, psychologically charged style marked by distorted anatomy, angular lines, and an unflinching exploration of sexuality, vulnerability, and existential tension. His drawings and watercolours often featuring contorted nudes are central to his legacy, while his paintings intensify these themes through abrasive color and dramatic composition. Schiele’s career was brief but extraordinarily prolific; he died at just 28 during the Spanish flu pandemic, leaving behind a body of work that profoundly shaped modern figurative art.
From a market perspective, Schiele is among the most highly valued artists of the Austrian avant-garde. His works on paper (drawings, watercolours, and gouaches) are especially sought after, reflecting both their artistic importance and relative scarcity compared to oil paintings. Prices vary widely depending on date, subjec and condition, but strong figurative sheets regularly achieve seven-figure results at major international auctions, while important paintings can reach many millions of euros. His market has proven resilient over decades, supported by museum demand, limited supply, and Schiele’s canonical status in modern art history.
A representative late work is Kauernder Mädchenakt mit Hand auf Wange (1917). Created near the end of his life, it depicts a crouching female nude with her hand resting against her cheek. The pose is introspective and tense, emphasizing psychological withdrawal rather than idealized beauty. The figure’s contorted posture, sharp outlines, and mottled, expressive coloration reveal Schiele’s mature style: the body becomes a vehicle for emotional exposure, fragility, and inner conflict. This work exemplifies the late phase of his art, where formal mastery is combined with deep psychological resonance qualities that make such pieces particularly prized.
Some artists of similar importance, Basquiat, Picasso, Hockney, Lichtenstein, Sorolla, Banksy, Brainwash, Miró, Nara, Soulages, Lagasse, Ramos, Rothko, Lautrec, Klimt, Modigliani, Hirst, Chagall, Koons, Haring, Indiana, Mondrian, Groening, Richter, Monroe, Kusama, Murakami, Testa, Villemot, Oldenburg, Hopper, Ripolles, Wesselmann, Magritte, Jenk, Orlinski, Wille, Rizzi, Manara, Thiebaud, Herrera, Laurent, Klein, Coa, Dior, Vuitton, Kaws, Valentino, Cappiello, Kandinsky, Warhol, Buffa, Tura, Castle, Ponti, Knoll, Corbusier, rober, Johns, Starck, Breuer, Nelson, Mogensen, Ponti, Bertoia, Urquiola, Chillida. Magistretti, Gauguin, Monet, Cezanne, Van Gogh, Botero, Katz, Braque, among others.
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