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Title: Portrait of a Woman (Wally Neuzil), 1912 (Egon Schiele)
Inventory number: K-115
Dimensions/Medium: 24.8 × 24.8 cm/gouache and pencil on paper
Characteristics: Signed and dated on the front, lower right: “Egon Schiele 1912”
"Wally" Neuzil was only 18 years old when Egon Schiele painted her portrait. Neuzil was Schiele’s lover, his model, his closest confidante, and for years the most important constant in his life. She organized his daily routine, handled his correspondence, maintained contacts with gallery owners, and took care of the young artist’s needs. In 1912, the two were living in Neulengbach, Lower Austria. It was a fateful year for Schiele. He painted some of his most haunting works, while at the same time, his nude drawings of very young girls brought the police onto the scene. The artist was imprisoned for indecency, but Neuzil continued to stand by him. Perhaps it is precisely this experience that explains the intensity of this work. All attention is focused on Neuzil’s face and her melancholic gaze. Her body disappears almost completely behind the patterned fabric. Furthermore, the glowing background enhances the expressiveness of the portrait. Three years after its creation, the relationship ends abruptly. In 1915, Schiele writes matter-of-factly: “I intend to marry—preferably not Wally, perhaps.” (SW)
Summary of Provenance
Otto Benesch first appeared as the lender of the portrait of a woman (Wally Neuzil) for a Schiele memorial exhibition at the Albertina in Vienna in 1948. Whether he was the sole owner at that time or owned the work jointly with his mother, Anna Benesch (née Weber), has not yet been clarified based on the available sources. However, Otto Benesch was likely not the first owner of the work. It is likely that he acquired the work from the Schiele collection of his father, Heinrich Benesch, who died in 1947 and who had “assembled the most comprehensive collection of the artist’s watercolors and drawings during Schiele’s lifetime”[1]. Upon Otto Benesch’s death in 1964, the portrait of a woman passed by inheritance to his widow, Eva Benesch (née Steiner), who sold the work around 1967 to the William H. Schab Gallery in New York. From there, the work went to the Marlborough-Gerson Gallery in New York and was acquired by a private Swiss collection. In 1998, the work was sold from the private Swiss collection to the London branch of Marlborough Fine Art. In London, Heidi Horten acquired the work on April 20, 1998.
[1] Rudolf Leopold, Egon Schiele: Paintings, Watercolors, Drawings, Salzburg 1972, p. 668.
+ PROVENANCE
| Until 1947 | Heinrich Benesch, Vienna |
| 1947–1964 | Otto Benesch, Vienna |
| 1967 | William H. Schab Gallery, New York |
| […] | Marlborough-Gerson Gallery, New York |
[…] | Swiss private collection |
1998 | Marlborough Fine Art Gallery, London |
| April 20, 1998 | Heidi Horten |
| Since 2022 | HGH Asset Foundation, Vaduz |
+ LITERATURE/ARCHIVES
| Archive of the Albertina, Vienna |
| Egon Schiele Database of Autographs |
| Austrian State Archives, Archives of the Republic |
| Vienna City and Provincial Archives |
| Jane Kallir, Egon Schiele. The Complete Works. Including a Biography and a Catalogue Raisonné, New York 1990 (expanded edition 1998), p. 654. |
| Modern Masters Prints & Drawings, William H. Schab Gallery, New York, 1967, p. 74. |
| Rudolf Leopold, Egon Schiele: Paintings, Watercolors, Drawings, Salzburg 1972, p. 668. |