• The Man on the Balcony, 1880
  • Passion for Dance, 2011 - Vezur
  • The Haymaker, 1886
  • Pugacheva Taxi, 2011 - Vezur
  • The Thames below Westminster, 1871
  • Recumbent Nude, 1917
  • Breath of the Earth, 2011 - Vezur
  • Evening on Volga, 1888
  • Golden autumn, 2011 - Vezur
  • Richard Gallo and His Dog, at Petit Gennevilliers, 1884
  • Seated Nude, 1917
  • Independence Day, 2011 - Vezur
  • Antibes Seen from the Salis Garden, 1888
  • Two Tahitian Women, 1899
  • Conversion, 1912
  • Moonrise over the Sea, 1822
  • Portrait of a European Lady in Japanese Costume
  • Anemones, 1909
  • Blue Dancers, 1899
  • Dance Festival, 2011 - Vezur
  • Le Pêcheur (The Fisherman), 1909
  • Riga at Night, 2011 - Vezur
  • Dancers in Riga Heart, 2011 - Vezur
  • Madame Camus with a Fan, 1870
  • Anna Pavlova in the Ballet Sylphyde, 1909
  • Judith and the Head of Holofernes, 1901
  • Winter, 2011 - Vezur
  • Dancers in Blue, 1890
  • Midsummer Night, 1876
  • Study for The Spanish Dance, 1882
  • Portrait Of The Painter Max Oppenheimer, 1910
  • Standing Girl in a Plaid Garment, 1909
  • The Boat, 2011 - Vezur
  • Entrance to harbor, Moonlight, 1881
  • Ballet Scene, 1879
  • Caricature Self Portrait, 1889
  • Cagnes Landscape
  • Portrait of Felix Feneon, 1890
  • Riga in Blue, 2011 - Vezur
  • The Magpie, 1869
  • Riegert aka Laima Clock, 2011 - Vezur
  • Poppies, 1886
  • The Banks of the River at Veneux, 1881
  • The Second Youth, 2011 - Vezur
  • Lady with fan, 1918
  • Kelly Pool, 1903
  • Lovers: Man and Woman I, 1914
  • The Kiss, 1908
  • Jurmala (Sea Pearl), 2011 - Vezur
  • The Red Vineyard, 1888

Reclining Woman with Green Stockings (aka Adele Harms), 1917

Reclining Woman with Green Stockings (aka Adele Harms), 1917

Egon Schiele

As his reputation grew, Egon Schiele set his sights on a pair of sisters, Adele and Edith Harms, who lived opposite his studio. In 1915, Schiele married Edith, the finer-featured but more melancholic sister. While Edith didn’t want her husband using other models, she was convent educated and was embarrassed about posing herself. The few drawings he did make of her capture such defiance, but also a touching innocence. A couple of years into the marriage, when Edith had put on weight and no longer matched her husband’s lean and fragile ideal, other women – including her sister, Adele, – were once again invited to pose. Edith turned a blind eye. Unlike her younger sister, though, Adele wasn’t shy about posing in her underwear, and would later claim that her relationship with her brother-in-law had not been as chaste as it should have. Even today, a century after his death, the candour with which Schiele presented all of his women is sometimes unsettling. The intensity of his work lies in his engagement with his models. Their demeanour is sometimes confrontational, sometimes seductive, but always in control.

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