• Lying act, 1917
  • Big Red Buste, 1913
  • Foggy Morning, 2011 - Vezur
  • Stehend Karyatide, 1913
  • Forest, 2011 - Vezur
  • Adele Bloch Bauer I, 1907
  • Idyll in Tahiti, 1901
  • Blue Dancers, 1899
  • Woman with Black Hat, 1909
  • Woman on a Terrace, 1857
  • The Vines, 1902
  • Riga Springtime, 2011 - Vezur
  • Sun Walk Over The Bridge, 2011 - Vezur
  • Contrasting Sounds, 1924
  • Ophelia, 1905
  • The Red Vineyard, 1888
  • The Star, 1878
  • Breath of the Earth, 2011 - Vezur
  • Flowers in a Vase, 1866
  • Water Lilies, 1906
  • Dandelions, Ventas Rumba, 2011 - Vezur
  • Self Portrait With Spread Fingers, 1909
  • House of Blackheads, 2011 - Vezur
  • Impression, Sunrise, 1872
  • Buckwheat Harvesters at Pont-Aven, 1888
  • Four Bathers, 1905
  • Lady with fan, 1918
  • Old Riga, 2011 - Vezur
  • Valdemara street, 2011 - Vezur
  • The Bather, 1879
  • Old Town Charm, 2011 - Vezur
  • Gloomy Situation, 1933
  • Portrait Of Gabrielle Aka Young Girl With Flowers, 1900
  • Daisy fields, 2011 - Vezur
  • Four Trees, 1917
  • Buddah In His Youth, 1904
  • Bridge of Europe, 1877
  • Study for The Spanish Dance, 1882
  • Evocation
  • Independence Day, 2011 - Vezur
  • Bare Tree behind a Fence, 1912
  • Poppies, 1886
  • Poppies at Argenteuil, 1873
  • The Starry Night, 1889
  • A Friend in Need, 1903
  • Study of a Figure Outdoors (Facing Right), 1886
  • Paris Street - Rainy Weather, 1877
  • Chimney Sweeper, 2011 - Vezur
  • The Hope II, 1908
  • Two Tahitian Women, 1899

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.