• Impression, Sunrise, 1872
  • Portrait of a Man, 1923
  • Woman on a Terrace, 1857
  • Conversion, 1912
  • La Sybille, 1891
  • The Buffalo Trail, 1867
  • Flowers in a Vase, 1866
  • Negress, 1869
  • Lane at the Jardin du Luxembourg, 1886
  • Morning in a Pine Forest, 1889
  • The Black Cat, 2011 - Vezur
  • Agony, 1912
  • Sea coast, 2011 - Vezur
  • San Giorgio Maggiore at Dusk, 1908
  • Madame Pompador, 1915
  • Man with a Pipe (aka The Man from Nice), 1918
  • Ligo Evening, 2011 - Vezur
  • Marine bleue, 1893
  • Four Trees, 1917
  • Poppy field, 2011 - Vezur
  • Daisy fields, 2011 - Vezur
  • Winter, 2011 - Vezur
  • Evening on Volga, 1888
  • Adele Bloch Bauer I, 1907
  • Lady with fan, 1918
  • Passion for Dance, 2011 - Vezur
  • Adam and Eve, 1526
  • Chimney Sweeper, 2011 - Vezur
  • Reclining Woman with Green Stockings (aka Adele Harms), 1917
  • Columbus Avenue, Rainy Day, 1885
  • The Hope II, 1908
  • Lady with hat and feather boa, 1909
  • Portrait of Josette, 1916
  • Evocation
  • Sunflowers, 1888
  • Kelly Pool, 1903
  • Riga at sunset, 2011 - Vezur
  • Haymaking, 2011 - Vezur
  • Lying act, 1917
  • Bridge of Europe, 1877
  • Manao Tupapau (Spirit of the Dead Watching), 1892
  • Moonrise over the Sea, 1822
  • Pugacheva Taxi, 2011 - Vezur
  • Yellow Circle, 1926
  • Ophelia, 1905
  • The Veteran in a New Field, 1865
  • Ballet Scene, 1879
  • Avenue of poplars at sunset, 1884
  • The Woman Friends, 1917
  • Buckwheat Harvesters at Pont-Aven, 1888

Stehend Karyatide, 1913

Stehend Karyatide, 1913

Amedeo Modigliani

Although this work is painted in oil on canvas, it conveys a strong impression of sculpted stone. This painting primarily depicts form; the volumes that make up the caryatid’s figure are geometric and articulated. ‘Caryatid’ comes from the Greek karyatides, the priestesses of Artemis at Caryae, and it means a sculpted female figure built to support entablature. This caryatid is certainly sculptural, but she is also fundamentally paradoxical. Her forearms, perpendicular to her biceps and mirroring the vertical axis of her body, support nothing. Modigliani’s primary interest seems to be her figure and the shapes that form it. Her pose is merely an attitude and the rhythm of her body is interrupted. Each form is separated from its neighbour. The caryatids show Modigliani at his most fully abstracted and formalist.

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