• The Man on the Balcony, 1880
  • Wheat Field With Reaper And Sun, 1889
  • The Starry Night, 1889
  • Passion for Dance, 2011 - Vezur
  • Dancers, 2011 - Vezur
  • The Magpie, 1869
  • Riegert aka Laima Clock, 2011 - Vezur
  • Landscape at Saint-Rémy, 1889
  • Interior, Woman at the Window, 1880
  • Beatrice, 1897
  • Flowers in a Vase, 1866
  • Study for The Spanish Dance, 1882
  • The Red Vineyard, 1888
  • Mona Lisa, 1507
  • The Second Youth, 2011 - Vezur
  • Old Town In The Snow, 2011 - Vezur
  • Zwei Akte, 1890
  • The Large Bathers, 1906
  • Water Lilies, Green Reflection, Left Part, 1923
  • Young Man at His Window, 1875
  • Judith and the Head of Holofernes, 1901
  • Bare Tree behind a Fence, 1912
  • La Sybille, 1891
  • Seacoast at Engure, 2011 - Vezur
  • Blue Dancers, 1899
  • Pugacheva Taxi, 2011 - Vezur
  • Harvest Time, 1878
  • Four Bathers, 1905
  • Strolling along the Seashore, 1909
  • Sun Walk Over The Bridge, 2011 - Vezur
  • Flower Clouds, 1903
  • Dancers in Blue, 1890
  • Opera House, 2011 - Vezur
  • Study of a Head, 1913
  • Kelly Pool, 1903
  • Old Town Back In 30's, 2011 - Vezur
  • Manao Tupapau (Spirit of the Dead Watching), 1892
  • Rosina, 1878
  • Woman with Black Hat, 1909
  • Seacoast at Kurzeme, 2011 - Vezur
  • Reclining Woman with Green Stockings (aka Adele Harms), 1917
  • Moonlight, 1874
  • Nude Egyptian Girl, 1891
  • Study of a Figure Outdoors (Facing Right), 1886
  • The Football Players, 1908
  • Portrait Of Gabrielle Aka Young Girl With Flowers, 1900
  • Russian Belle and Landscape, 1904
  • Autumn Sun I, 1912
  • Moonlight On The Loire Barbizon landscape
  • The Buffalo Trail, 1867

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.