• The Black Cat, 2011 - Vezur
  • Wanderer above the Sea of Fog, 1818
  • Mother And Child Aka Madonna, 1908
  • Morning in a Pine Forest, 1889
  • Madame Pompador, 1915
  • Standing Girl in a Plaid Garment, 1909
  • Café Terrace at Night, 1888
  • Old Riga view, 2011 - Vezur
  • Breton Landscape - Fields by the Sea (Le Pouldu), 1894
  • The Haymaker, 1886
  • Riga in begining of 20th century, 2011 - Vezur
  • Moonlight On The Loire Barbizon landscape
  • Blue Dancers, 1899
  • Lady of the Flowers, 1895
  • Poppy field, 2011 - Vezur
  • The Thames below Westminster, 1871
  • Fields of Gold, 2011 - Vezur
  • House of Blackheads, 2011 - Vezur
  • The Fog Warning, 1885
  • Manao Tupapau (Spirit of the Dead Watching), 1892
  • Evening in New York, 1890
  • Zwei Akte, 1890
  • Yellow Circle, 1926
  • Moonlight, 1874
  • Ophelia, 1905
  • Conversion, 1912
  • Orange Trees, 1878
  • Two Tahitian Women, 1899
  • A Carnival Evening, 1886
  • Four Trees, 1917
  • Nabis Landscape, 1890
  • View Of Venice Fog, 1881
  • Portrait of a European Lady in Japanese Costume
  • Big Red Buste, 1913
  • Melancholy, 1874
  • Deauville, The Basin, 1892
  • Moonrise over the Sea, 1822
  • Self Portrait with Hands on Chest, 1910
  • Dead Mother, 1910
  • Poppies at Argenteuil, 1873
  • Three Sisters at The Three Brothers, 2011 - Vezur
  • Caricature Self Portrait, 1889
  • Avenue of poplars at sunset, 1884
  • Portrait Of The Painter Max Oppenheimer, 1910
  • Breath of the Earth, 2011 - Vezur
  • Dancers in Riga Heart, 2011 - Vezur
  • The Magpie, 1869
  • Study for The Spanish Dance, 1882
  • Harvest Time, 1878
  • The Banks of the River at Veneux, 1881

Reclining Semi-Nude with Red Hat, 1910

Reclining Semi-Nude with Red Hat, 1910

Egon Schiele

Painting depicts Gertrude Schiele. Egon Schiele`s sister, four years his junior, was a compliant subject for him. Schiele draws no bed, no chair, only the provocative gesture of his sister`s body offering itself. Schiele's early paintings of Gerti convey something of her coy shyness. She rarely faces the viewer, and would later admit that she had been too embarrassed to pose nude at first and only allowed her brother to paint her from behind. Equally, the detached, voyeuristic angle from which the artist paints his model equally suggests an uneasy reluctance on Schiele's part to confront the female personality.

The painting will be delivered unstreched, rolled in protective & presentable case.