Sale: Dorotheum, Vienna, 27th November 2007, lot 7
Purchased at the above sale by the present owner

Executed on cream wove paper, not laid down, held in place by transparent corners at three corners and floating in the overmount. The sheet is slightly time-stained. There is a 2cm-long tear to the centre of the lower edge and small areas of scuffing along the top edge and top right and lower left hand corners. All four edges have some minor creases. There is a minor paper loss to the top left corner and the paper is lifting in a small area in the grass to the foreground. There is an area of discolouration to the roof and part of the sky. Otherwise, this work is in overall fairly good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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 enchanting and rare watercolour of an Austrian villa is one of relatively few early works completed before Schiele joined the Akademie der bildenden Künste in Vienna. In 1905, Schiele was still under instruction at the Realgymnasium in Klosterneuberg and it was becoming clear to his teachers and guardians alike that, failing in nearly every subject but art, his academic career was coming to an end. His teacher, the Akademie-trained Ludwig Karl Strauch took to the young prodigy, encouraging the ‘elaborate watercolour technique’ (Jane Kallir, Egon Schiele: The Complete Works, London 1990, p. 36). Schiele was developing skills that allowed him to exercise his aptitude and proficiency at rigorous precision. While Schiele’s output at this time was largely conventional, this virtuoso watercolour, one of his ‘masterpieces of verisimilitude’ (ibid. p. 36) is a striking evidence of Schiele’s natural brilliance.