Sale: Neumeisters, Munich, 25th May 1991, lot 183
Purchased at the above sale by the family of the present owner

Executed on buff-coloured wove paper, not laid down. The sheet is hinged to the mount at two points on the verso of the upper edge. The verso of the sheet is slightly shiny, which is inherent to the paper. There are remnants of old framer's tape on the verso of the upper corners. The right and upper edges are unevenly cut. There are flattened creases throughout, notably towards the lower corners and along the upper part of the right edge and to the figure's upper body just beneath the necklace. There are a few tiny tears to the edge of the sheet associated with the flattened creases, notably along the upper edge and just above the centre of the right edge and not visible when framed. The sheet is lightly time-stained with a few scattered specks of foxing in places and a faint media stain at the centre of the right edge. This work is in overall 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."

Gustav Klimt’s exquisite and ingenious representations of women have led him to become the most celebrated painter of the female portrait of the early 20th Century. Klimt’s portraiture was almost exclusively the product of commissions from female members of the Viennese high society and intimate images of his companion, the designer, Emilie Flöge. Klimt’s portraits were high in demand and helped to rapidly establish him in Vienna as the most successful artist of his day.

Presented over the following pages are three of Klimt’s pre🌄paratory studies for portraits of Fritza Riedler, Elisabeth Lederer and Miss Lieser. In multiple drawings Klimt experimented with slight variations of pose and composition in order to caption his sitter as distinctly as possible. The drawings are characterised by wonderfully fluid lines, brimming with vitality.

The fashion-conscious artist often incorporated extravagant patterns and geometric designs into his work and those who sat for his portraits, and may have been dressed in the꧋ current fashions, were often reimagined entirely to the artist’s own taste. Klimt appears to have used the sitter’s dress to add meaning. Whilst the frills on Fritza Riedler’s dress playfully underline the wearer’s femininity the close fitting dress of Elisabteh Lederer seems more suitable to showcase her petite stature and fragile complexion, whilst Miss Lieser’s patterned shawl appears to be wrapped around her shoulders protectively.

Marian Bisanz-Prakken observed: ‘The dialect of body language and gestures on the one hand, and the vitality of the clothing on the other hand thus became the hallmark of his portraiture’ (Marian Bisanz-Prakken ‘Klimts Studies for the Portrait Paintings’ in Tobias G. Natter & Gerbert Frodl (ed.), Klimt’s Women, p.199). And further: ‘The thoroughness with which Klimt approached his subject in preparatory studies might seem superficially academic and almost anachronistic. In actual fact, in each drawing, he took up the challenge anew to integrate the figure standing before him into the overall “world of the artist”. Within his unchanging, self-imposed limitations he sought a balance between emotional expression and a higher order. In other words, above and beyond the function of a prepar✅atory study, each drawing took on the creed-like aspect of the urgent and the definitive’ (ibid., p. 204-205).