Gustav Ucicky, Vienna (the artist's son)
Hilde Elisabeth Ptack (Betty Bird, the artist's wife; a gift from the above by 1936)
Mischa Hauserman (acquired from the above)
Acquired from the above by the present owner

Alice Strobl, Gustav Klimt, Die Zeichnungen, 1904-1912, Salzburg, 1982, vol. II, no. 1711, illustrated p. 159

Executed on cream wove paper, not laid down, attached to the mount at all four corners and to the centre of each edge, floating in the mount. There are artist's pinholes to the centre of the lower and left edges. There are some very minor flattened creases to the left and right edges. Apart from some very light foxing, mainly to the upper right quadrant, some slight time staining, mainly to the left edge and some minor undulation to the sheet, this work is in very good condition. Colours: Overall fairly accurate, although the paper tone is slightly warmer in the original than in the catalogue illustration.
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Drei stehende Frauenakte belongs to a series of studies for the faculty painting Medizin dated 1900-07 (see F. Novotny & J. Dobai, Gustav Klimt, Salzburg, 1967, no. 112; A. Weidinger, Gustav Klimt, London, 2007, no. 139) as well as for the Beethovenfries of 1901-02 (fig. 1). More specifically, the centre figure of the present work served not only as a model for the foster mother in Medizin but also recalls the sitter for the allegory of gluttony in the Beethoven Frieze. According to Alice Strobl triple figure groupings are particularly interesting from a compositional point of view as they are extremely rare in the artist's œuvre. Klimt focuses very strongly on the features of the central figure, whereby her eyes and lips are especially emphasised by the strong pencil line. The overall sensitivity of execution and harmony of composition created on paper are a wonderful🐼 testimony to the artist's mastery as a draughtsman.

Fig. 1, Gustav Klimt, Beethovenfries (centre wall), 1901-02, mixed media on plaster, Belvedere, Vienna