• Avenue of poplars at sunset, 1884
  • The Midday Nap, 1894
  • The Bather, 1879
  • A Gust of Wind, 1883
  • The Thames below Westminster, 1871
  • Tree of Life, 1909
  • The Sleeping Gypsy, 1897
  • Spring, 1879
  • Countryside, 2011 - Vezur
  • The Green Dancer, 1880
  • Old Town In The Snow, 2011 - Vezur
  • Reclining Woman with Green Stockings (aka Adele Harms), 1917
  • La Sybille, 1891
  • Evening in New York, 1890
  • Daisy fields, 2011 - Vezur
  • Seacoast at Engure, 2011 - Vezur
  • Midsummer Night, 1876
  • Conversion, 1912
  • The Boat, 2011 - Vezur
  • Melancholy, 1874
  • The Sower, 1888
  • Poppies, 1886
  • Madame Pompador, 1915
  • Riga at sunset, 2011 - Vezur
  • Cold Morning, 2011 - Vezur
  • Two Little Girls On The Beach, 1895
  • Riegert aka Laima Clock, 2011 - Vezur
  • Fields of Gold, 2011 - Vezur
  • Portrait Of Gabrielle Aka Young Girl With Flowers, 1900
  • Tram No 10, 2011 - Vezur
  • Autumn, 1877
  • Cherubini, 1514
  • The Druidess, 1893
  • Idyll in Tahiti, 1901
  • Judith and the Head of Holofernes, 1901
  • Portrait of Felix Feneon, 1890
  • The Last Supper, 1498
  • Le Pêcheur (The Fisherman), 1909
  • Dancers in Blue, 1890
  • Bridge of Europe, 1877
  • The Vines, 1902
  • The Vision after the Sermon, 1888
  • Columbus Avenue, Rainy Day, 1885
  • The Man on the Balcony, 1880
  • Richard Gallo and His Dog, at Petit Gennevilliers, 1884
  • Four Bathers, 1905
  • Study of a Figure Outdoors (Facing Right), 1886
  • Anna Pavlova in the Ballet Sylphyde, 1909
  • Agony, 1912
  • The Football Players, 1908

Self Portrait with Hands on Chest, 1910

Self Portrait with Hands on Chest, 1910

Egon Schiele

Schiele, in terms of the figural and figurative options available to the self-portrait, comes at a final point in a process of evolution, a point at which the self is in fact experienced as divisible – as dividual, so to speak. With the exception of early works dating from 1905 to 1907, Schiele`s self –portraits no longer fit very well into either the category of autobiographical reportage or that of hero-worship of the self. The poses he strikes in them are extraordinary, his gestures highly affective, and the portraits deny and dismantle the oneness of the self. A tension is created between the actual self and the self seen in alienated form in the picture, and this tension attests not the confirmed certainty of individual identity but rather its end. Some of the self-portraits may recall Oscar Wilde`s „The Picture of Dorian Gray” (1890), in which the painted self grows older while the beauty of the real self remains unchanged. The novel makes so powerful an impact because it reverses the normal relation of sitter to painted image: the image becomes the true mirror of the soul, revealing traits the living original does not. Plainly Schiele`s contemporaries occasionally felt something of the kind when they considered his self-portraits. Friedrich Stern, for instance, wrote in a review dated 11 November 1912: „And he has a self-portrait which is difficult to make out for the simple reason that the rot he feels he must show his youthful face in the grip of has advanced too far. It`s all very sad ...” So the image in his mirror served Schiele not as a way of fixing his identity but to promote the quest for the other self he portrayed in his pictures.

Reinhard Steiner, "The Midnight Soul of the Artist", 2000.

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