Stylistic development
Starting in 1922, Lempicka participated in various Parisian "salons" - in particular, the Salon d'Automne and the Salon des Tuileries, both of which attracted large crowds and received a great deal of press coverage at the time. For her first public appearances, Lempicka participated using the masculine form of her family name: thus, the catalogs for these shows list "Lempitzky", the name she also used to sign her paintings at the time, instead of the Polish feminization of her name, "Lempitzka". Her style evolved very rapidly during these years, from the classic facture and heavy brushwork of her beginnings to a smoother technique, and to lighter colors, which she deliberately restricted for the sake of harmony. Still attracted by Expressionism, she continued to prefer models with gnarled, muscular bodies as well as, occasionally, extremely virile female figures in strong contrast to the dreamy young women she portrayed in parallel. She was gradually developing a personal style, as can be seen in works such as "Her Sadness" (B.30), or "Woman with the Black Dress" (B.31). André Lhote's well-advised suggestions were bearing their fruit.
Starting in 1922, Lempicka participated in various Parisian "salons" - in particular, the Salon d'Automne and the Salon des Tuileries, both of which attracted large crowds and received a great deal of press coverage at the time. For her first public appearances, Lempicka participated using the masculine form of her family name: thus, the catalogs for these shows list "Lempitzky", the name she also used to sign her paintings at the time, instead of the Polish feminization of her name, "Lempitzka". Her style evolved very rapidly during these years, from the classic facture and heavy brushwork of her beginnings to a smoother technique, and to lighter colors, which she deliberately restricted for the sake of harmony. Still attracted by Expressionism, she continued to prefer models with gnarled, muscular bodies as well as, occasionally, extremely virile female figures in strong contrast to the dreamy young women she portrayed in parallel. She was gradually developing a personal style, as can be seen in works such as "Her Sadness" (B.30), or "Woman with the Black Dress" (B.31). André Lhote's well-advised suggestions were bearing their fruit.
Study for a Portrait
Mechanist Composition
Abstract Composition
Abstract Composition
Abstract Composition
Man, Seated Nude
Pensive Athlete
Man, Standing Nude
Reclining Nude
Seated Nude
Standing Nude, with Raised Arms
Standing Nude, with Raised Arms
Hugging Figures
Two Hugging Women. Lacquer decor project
Woman and Stag. Lacquer decor project
Two Women. Lacquer decor project
Woman before Her Mirror
Two Girlfriends
Seated Nude Woman
Women Bathing
The Sewing Workroom
The Picking
Theater Allegory
Study
Draped Woman
Nude as a Bust
Seated Nude
At the Café
Café Scene
Reading
At the Café, Man with Cigarette
At the Café
Concirca ation
At the Café
Seated Young Lady
Nude, Blue Background
A Street at Night
Lake and Mountain Landscape
Seated Nude in Profile
Brutal Woman Figure
Seated Nude
The Sleeping Girl
Perspective
Seated Nude
Il fondo rosa (Portrait of Bibi Zögbe)
Figure Study
Portrait of a Man in a Club Chair
The Louis-Philippe Decanter
The Gypsy
Her Sadness
Woman in a Black Dress
75
Double "47"
Portrait of a Woman with Cap
Woman Figure
The Widow
The Green Veil
Still Life with a Russian Doll
The Open Book
The Red Bird
A Harbor in the Moonlight
Broom and Turned-Around Painting
Broom and Pitcher
Il giacinto
Bottle and Cauliflower
Head of a Woman
Portrait of Madame Zanetos
Portrait of Kizette
Portrait of the Duchess of Valmy
Portrait of Constantin Stifter
Rythm
-
Study for a Portrait
A.014circa1923Conté pencil on paper24 x 15,5 cm (9 1/2 x 6 1/8 in)T.DE LEMPICKA (artist's stamp bottom right)(Etude pour un portrait)Collections1972 - Private collection - France -
Mechanist Composition
A.015circa1923Conté pencil on paper11,2 x 7,6 cm (4 3/8 x 3 in)LEMPICKA. (artist's stamp bottom right)measurements of the drawing (Composition mécaniste)Collections1972 - Private collection - France -
Abstract Composition
A.016circa1923Crayon on paper23,6 x 14,2 cm (9 1/4 x 5 5/8 in)LEMPICKA. (artist's stamp bottom right)(Composition abstraite)Collections1994 - Private collection - France -
Abstract Composition
A.017circa1923Crayon on paper23,6 x 14,2 cm (9 1/4 x 5 5/8 in)T.L. (bottom left)(Composition abstraite)Collections1970 - Private collection - France -
Abstract Composition
A.018circa1923Watercolor on paper18 x 8 cm (7 1/8 x 3 1/8 in)LEMPICKA. (artist's stamp bottom right)(Composition abstraite)Collections1970 - Private collection - France -
Man, Seated Nude
A.019circa1923Crayon on paper22,8 x 13,3 cm (9 x 5 1/4 in)de Lempicka (bottom right)(Homme, nu assis) -
Pensive Athlete
A.020circa1923Crayon on paper22,8 x 13,3 cm (9 x 5 1/4 in)de Lempicka (bottom left)(Athlète pensif) -
Man, Standing Nude
A.021circa1923Crayon on paper23,6 x 14,2 cm (9 1/4 x 5 5/8 in)T. de Lempicka (bottom right)(Homme, nu debout)Exhibitions1981 - Walter Haas: Art Déco, le Style Moderne, Zuerich, Switzerland -
Reclining Nude
A.022circa1923Crayon on paper15,5 x 23,5 cm (6 1/8 x 9 1/4 in)de Lempicka (bottom left)(Nu allongé)Auctions13/02/1986 - NEW YORK. Christie's “Christine-6084”, # 110 $ 0 -
Seated Nude
A.023circa1923Crayon on paper23,6 x 14,2 cm (9 1/4 x 5 5/8 in)de Lempicka (bottom left)(Nu assis)Collections1972 - Private collection - France -
Standing Nude, with Raised Arms
A.024circa1923Crayon on paper23,6 x 14,2 cm (9 1/4 x 5 5/8 in)de Lempicka (bottom left)(Nu debout, bras levés)Auctions05/05/1986 - PARIS. Renaud, # 20 $ 0 -
Standing Nude, with Raised Arms
A.025circa1923Crayon on paper23,6 x 14,2 cm (9 1/4 x 5 5/8 in)Lempicka (bottom right)(Nu assis, bras levés)Auctions15/05/1986 - NEW YORK. Christie's “Vigée-6130”, # 145 $ 6 000 -
Hugging Figures
A.026circa1923Crayon on paper23 x 15 cm (9 x 5 7/8 in)(Personnages enlacés)Auctions02/11/1993 - NEW YORK. Christie's East “Greg-7489”, # $ 2 500
16/02/1989 - NEW YORK. Christie's “Vicki-6762”, # $ 1 400
18/02/1988 - NEW YORK. Christie's “Shira-6540”, # 58 $ 0 -
Two Hugging Women. Lacquer decor project
A.027circa1923Crayon on paper13,3 x 20 cm (5 1/4 x 7 7/8 in)LEMPICKA. (artist's stamp bottom left)(Deux femmes enlacées. Projet de décor en laque)Preliminary sketch for Lempicka's bedroom decor in her apartment on Rue Guy de Maupassant. This sketch, in the shape of a half-circle, represents the design for the headboard (DOC.23). Together with - to the right of the bed - the portrait of the Duchess of la Salle wearing boots, it lent a resolutely feminist atmosphere to this room.HistoryThe apartment on RUE GUY DE MAUPASSANT: In 1925, Lempicka took up residence at 5 rue Guy de Maupassant in Paris (16e arrondissement). Her decor for this studio-apartment was imbued with a certain dramatic effect. A photograph by Jacques-Henri Lartigue gives us one view of the bedroom (see "Jacques-Henri LARTIGUE"), where, under the painting "Portrait of the Duchess of La Salle" (B.72), the carved lacquer bed decor - based on a sketch by Lempicka of a sapphic scene - boldly strikes the eye. A closet and stool (not to be seen in this photo) existed in the same carved lacquer scheme. The furniture has since disappeared.Auctions13/05/1987 - NEW YORK. Phillips “662”, # 42 $ 2 900 -
Woman and Stag. Lacquer decor project
A.028circa192313,3 x 20 cm (5 1/4 x 7 7/8 in)LEMPICKA (artist's stamp bottom left) "tabouret" (bottom right)(Femme et cerf. Projet de décor en laque)Preliminary sketch for the stool (DOC.25) belonging to the lacquer room decor project (see preceding entry).HistoryThe apartment on RUE GUY DE MAUPASSANT: In 1925, Lempicka took up residence at 5 rue Guy de Maupassant in Paris (16e arrondissement). Her decor for this studio-apartment was imbued with a certain dramatic effect. A photograph by Jacques-Henri Lartigue gives us one view of the bedroom (see "Jacques-Henri LARTIGUE"), where, under the painting "Portrait of the Duchess of La Salle" (B.72), the carved lacquer bed decor - based on a sketch by Lempicka of a sapphic scene - boldly strikes the eye. A closet and stool (not to be seen in this photo) existed in the same carved lacquer scheme. The furniture has since disappeared.Auctions21/06/1988 - PARIS. Briest, # 160 $ 6 330 -
Two Women. Lacquer decor project
A.029circa1923Crayon on paper13,3 x 20 cm (5 1/4 x 7 7/8 in)Paris (bottom left)(Deux femmes. Projet de décor en laque)Preliminary sketch for the lacquer decoration of the closet (cf. the two preceding entries).HistoryThe apartment on RUE GUY DE MAUPASSANT: In 1925, Lempicka took up residence at 5 rue Guy de Maupassant in Paris (16e arrondissement). Her decor for this studio-apartment was imbued with a certain dramatic effect. A photograph by Jacques-Henri Lartigue gives us one view of the bedroom (see "Jacques-Henri LARTIGUE"), where, under the painting "Portrait of the Duchess of La Salle" (B.72), the carved lacquer bed decor - based on a sketch by Lempicka of a sapphic scene - boldly strikes the eye. A closet and stool (not to be seen in this photo) existed in the same carved lacquer scheme. The furniture has since disappeared. -
Woman before Her Mirror
A.030circa1924Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)LEMPICKA. (bottom left)(Femme devant son miroir)Collections1980 - Fundacion Victor Manuel Contreras - Mexico -
Two Girlfriends
A.031circa1924Watercolor on paper10 x 9,5 cm (3 7/8 x 3 3/4 in)(Deux amies)A couple of highly stylized women - one blonde, the other wearing a cloche - in a very taut composition.Collections1972 - Private collection - France -
Seated Nude Woman
A.032circa1924Watercolor on paper12,5 x 15,5 cm (4 7/8 x 6 1/8 in)(Femme nue assise)Auctions05/11/1991 - NEW YORK. Christie's “Audrey-7247”, # 75 $ 4 200 -
Women Bathing
A.033circa1924Crayon on paper8,7 x 11,3 cm (3 3/8 x 4 1/2 in)T.DE LEMPICKA (artist's stamp bottom right)(Baigneuses)Auctions21/06/1988 - PARIS. Briest, # 152 $ 2 250 -
The Sewing Workroom
A.034circa1924Crayon on paper15,6 x 14,1 cm (6 1/8 x 5 1/2 in)(L'atelier de couture) -
The Picking
A.0351924Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)Lempicka Florence 1924. (top right)(La cueillette) -
Theater Allegory
A.036circa1924Crayon on paper8,7 x 11,3 cm (3 3/8 x 4 1/2 in)T. Lempicka Florence 1924. (top right)(Allégorie du théatre)Auctions24/01/1990 - PARIS. Loudmer, # 185 $ 0
22/11/1989 - PARIS. Ader, # 98 $ 0
13/06/1990 - PARIS. Cornette de St C. , # 52 $ 4 600 -
Study
A.037circa1924Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)LEMPICKA (artist's stamp bottom left)(Etude)Auctions21/06/1988 - PARIS. Briest, # 168 $ 2 330 -
Draped Woman
A.038circa1924Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)T.DE LEMPICKA (artist's stamp bottom right)(Femme drapée)Auctions21/06/1988 - PARIS. Briest, # 167 $ 5 000 -
Nude as a Bust
A.039circa1924Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)T.DE LEMPICKA. (artist's stamp bottom right)(Nu en buste) -
Seated Nude
A.040circa1924Crayon on paper23,8 x 15,6 cm (9 3/8 x 6 1/8 in)T.DE LEMPICKA. (artist's stamp bottom left)(Nu assis)Collections1989 - Collection of Anna Gardner Luce - U.S.A. -
At the Café
A.041circa1924Crayon on paper16 x 10,5 cm (6 1/4 x 4 1/8 in)Florence 1924 Lempicka (top left)(Au café)Collections1980 - Private collection - U.S.A. -
Café Scene
A.042circa1924Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)LEMPICKA. (bottom right)(Scène de café)Collections1980 - Fundacion Victor Manuel Contreras - Mexico -
Reading
A.043circa1924Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)LEMPICKA (artist's stamp bottom right)(La lecture)Auctions21/06/1988 - PARIS. Briest, # 153 $ 2 000 -
At the Café, Man with Cigarette
A.044circa1924Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)LEMPICKA. (artist's stamp bottom left)(Au café, homme à la cigarette)Collections1972 - Private collection - France -
At the Café
A.045circa1924Crayon on paper8,7 x 11,3 cm (3 3/8 x 4 1/2 in)T.DE LEMPICKA (artist's stamp top left)(Au café)Auctions21/06/1988 - PARIS. Briest, # 169 $ 2 170 -
Concirca ation
A.046circa1924Crayon on paper16 x 10,5 cm (6 1/4 x 4 1/8 in)T.DE LEMPICKA (artist's stamp bottom right)(Concirca ation)Auctions21/02/1990 - NEW YORK. Sotheby's Arcade ”1309”, # 67 ter $ 0
21/06/1988 - PARIS. Briest, # 151 $ 1 670 -
At the Café
A.047circa1924Crayon on paper16 x 10,5 cm (6 1/4 x 4 1/8 in)(Au café)Auctions05/11/1991 - NEW YORK. Christie's “Audrey-7247”, # 76 $ 1 100 -
Seated Young Lady
A.048circa1924Crayon on paper16 x 10,5 cm (6 1/4 x 4 1/8 in)T.DE LEMPICKA (artist's stamp bottom left)(Jeune femme assise)Auctions21/02/1990 - NEW YORK. Sotheby's Arcade ”1309”, # 61 $ 0
21/06/1988 - PARIS. Briest, # 149 $ 2 000 -
Nude, Blue Background
B.0161923Oil on canvas70 x 58,5 cm (27 1/2 x 23 in)DE LEMPICKA. 24 (top right)(Nu, fond bleu)Once again, the influence of Lempicka's teacher, Maurice Denis, shows through.Collections1990 - Private collection -Auctions26/02/1990 - NEW YORK. Sotheby's “5979-Suzi-Q”, # 74 $ 52 500
27/05/1982 - NEW YORK. Christie's “Tango-5146 A", # 80 $ 26 000 -
A Street at Night
B.017circa1923Oil on cardboard50 x 33,5 cm (19 5/8 x 13 1/4 in)T.DE LEMPICKA. (artist's stamp bottom right)(Rue dans la nuit *)Somewhere in Central Europe, a dark city street at nighttime. The Expressionistically twisted street lights throw their pale light on the wet ground. The combination of fascination and anxiety with which Lempicka considered city at night comes through here for the first time. It is a theme that would later crop up as a background to many of her portraits, perhaps to express the darker side of her haughty models.Collections1972 - Galerie du Luxembourg - France
1980 - Private collection - FranceExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy,
1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan -
Lake and Mountain Landscape
B.018circa1923Oil on canvas(Paysage de lac et de montagne)A work we are inclined to identify as the painting entitled "By the Waterside", shown at the Bottega di Poesia exhibition.Collections1923 - Unknown collectionExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy -
Seated Nude in Profile
B.019circa1923Oil on canvas81 x 54 cm (31 7/8 x 21 1/4 in)T.DE LEMPICKA. (artist's stamp top right)(Nu assis de profil)A seated, academy model nude, handled in Cubist-Expressionist style. The profile of the face is left in shadow, thus underscoring the antisocial character exuded by this nude's gnarled and powerfully-built body.Collections1970 - Galerie du Luxembourg - France
1978 - Private collection - France
1993 - Private collection - France
1996 - Barry Friedman Ltd. - U.S.A.Exhibitions1996 - Barry Friedman Ltd. "Tamara de Lempicka", New-York, United States
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, JapanAuctions26/06/1991 - PARIS. Boisgirard, # 73 $ 0 -
Brutal Woman Figure
B.020circa1923Oil on canvas(Figure d'une femme brutale)A painting identified through a photo of Lempicka's studio taken by her cousin, Constantin Stifter.Collections1923 - Unknown collection -
Seated Nude
B.021circa1923Oil on canvas94 x 56 cm (37 x 22 in)T.DE LEMPICKA. (top right)(Nu assis)With the help of a magnifying glass, careful scrutiny of this photo - taken in the artist's studio in 1923 - reveals two of her bedside books at the time: "Der Expressionismus" by Fechter, and "Pensées d'Ingres" by x. Tending to waver between the two, she was more in the first mood on the day of this painting.Collections1986 - Barry Friedman Ltd. - U.S.A.
1991 - Private collection - U.S.A.Exhibitions1984 - Hollywood American Legion Post, "Tamara", Los Angeles, United States
1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy -
The Sleeping Girl
B.0221923Oil on canvas89 x 146 cm (35 x 57 1/2 in)T.DE LEMPITZKY. 23 (bottom right)(La dormeuse *)The proud pubis, taking up almost the entire center of this painting, is well framed by two sturdy thighs. A work that is somewhat reminiscent, today, of the famous work on the same theme that Gustave Courbet so lovingly painted. Although, by 1923, 19th-century modesty was probably outdated, this early work by Lempicka does seem intentionally provocative. Interestingly, she was listed as a man in the exhibition catalog of the Salon des Indépendants, where she showed that year.Collections1980 - Private collection - U.S.A.
1980 - Barry Friedman Ltd. - U.S.A.Exhibitions1924 - Salon des Indépendants 1924, Paris, France
1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
1996 - Barry Friedman Ltd. "Tamara de Lempicka", New-York, United States -
Perspective
B.0231923Oil on canvas130 x 162 cm (51 1/8 x 63 3/4 in)T.DE LEMPITZKY (bottom right)(Perspective *)The title, hypocritically referring to the painting's background, seems to have been chosen (by Lempicka) to assuage any excessively prudish reactions to this classic Sapphic composition. A theme to which the artist would often revert (cf. "Group of Four Nudes" B.64, "Myrto" B.118, etc.).Collections1969 - Musée du Petit Palais, Genève - SwitzerlandExhibitions1923 - Salon d'Automne 1923, Paris, France
1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
1991 - Musée des Beaux-Arts de Montréal, "Les années 20, l'âge des métropoles", Montréal, Canada -
Seated Nude
B.024circa1923Oil on canvas92 x 65 cm (36 1/4 x 25 5/8 in)T.DE LEMPICKA. (artist's stamp bottom right)(Nu assis)The inscription on the back of this painting was misread - and hence wrongly listed in an auction catalog - as "View of the Departure". It was "Rue du Départ" that was actually written, referring to the street where André Lhote had set up his academy, and where this painting was probably done.Collections1985 - Private collection - U.S.A.Exhibitions1984 - Hollywood American Legion Post, "Tamara", Los Angeles, United StatesAuctions13/11/1985 - NEW YORK. Christie's “Rudolf-6020", # 311 $ 26 000 -
Il fondo rosa (Portrait of Bibi Zögbe)
B.0251923Oil on canvas47 x 38,7 cm (18 1/2 x 15 1/4 in)T de Lempicka (bottom left in pencil)Il fondo rosa * (Portrait de Bibi Zögbe)Bibi Zögbe was a painter herselfCollections1924 - Purchased directly by Mrs. Bibi Zögbe - Argentina
1995 - Barry Friedman Ltd. - U.S.A.
1997 - Private collection - MilanExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1996 - Barry Friedman Ltd. "Tamara de Lempicka", New-York, United States
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, JapanHistoryBibi ZOGBE, Client: "Bibi" Zogbe (or Zögbe) was a painter and friend of Lempicka's during the twenties. She left Europe in the thirties to settle in Argentina, where she died in 1979.Auctions05/10/1992 - NEW YORK. Sotheby's “6341-Presto”, # 59 $ 0
07/06/1991 - PARIS. Lenormand, Dayen, # 58 $ 0
25/06/1990 - PARIS. Loudmer, # 216 $ 53 800 -
Figure Study
B.026circa1923Oil on canvas(Etude de figure)All trace has been lost of this "Italianizing" oval face, observed from below. A painting identified through a photo of Lempicka's studio taken by her cousin, Constantin Stifter.Collections1923 - Unknown collection - -
Portrait of a Man in a Club Chair
B.0271923Oil on canvasT.DE LEMPITZKY 23 (bottom left)(Portrait d'homme dans un fauteuil club)This portrait is said to be a portrait of Tadeusz, but available photos of the latter show a more elegant and skinnier figure. In her photo album, the artist listed this work merely as "Portrait 1923".Collections1923 - Unknown collectionExhibitions1923 - Salon des Indépendants 1923, Paris, France
1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, ItalyHistoryTadeusz LEMPITZKI, Family or close friend: In 1916, in Petrograd (St. Petersburg), Tamara Gorska married Count Tadeusz Lempitzki (or Lempicki, since the nobiliary particle was added later, in France). After jointly emigrating to France with their daughter Kizette, the couple divorced in 1928. -
The Louis-Philippe Decanter
B.0281923Oil on canvas35 x 27 cm (13 3/4 x 10 5/8 in)T.DE LEMPICKA. (artist's stamp bottom right)(La carafe Louis-Philippe)An opaline decanter and an orange, depicted against background drapery. As is frequently the case with young and impatient painters, Lempicka painted this work over an earlier one.Collections1979 - Private collection - FranceExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy -
The Gypsy
B.029circa1923Oil on canvas73 x 60 cm (28 3/4 x 23 5/8 in)T.DE LEMPICKA.25 (top right)(La bohémienne)The figure depicted here represents, on the contrary, a neatly attired woman sporting a trendy hat. If we take into consideration the way this work is handled, then the date inscribed next to the signature seems unlikely; it must have been added a posteriori by Lempicka (accuracy was not her strong point).Collections1984 - Private collection - SwitzerlandExhibitions1924 - Salon des Indépendants 1924, Paris, FranceAuctions16/05/1984 - NEW YORK. Sotheby's "5183", # 411 $ 16 500 -
Her Sadness
B.0301923Oil on canvas116 x 73 cm (45 5/8 x 28 3/4 in)DE LEMPITZKY. 23 (bottom left)(Sa tristesse *)The second portrait of Ira Perrot, and the first to be acquired by a Lempicka fan, in 1924. To date (1998), it still belongs to the same family. Is it necessary to be sad yourself to paint someone else's sadness? The "Her" of the title implies this need not be the case.Collections1924 - Purchased directly by Dr. Arthur Bookman - U.S.A.
1980 - Private collection - U.S.A.Exhibitions1923 - Salon des Indépendants 1923, Paris, France
1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, ItalyHistoryIra PERROT, Family or close friend: Until 1939, Ira Perrot and Lempicka were close friends. Besides sitting for her 1930 portrait ("Portrait of Ira Perrot" [B.143]), most probably Perrot was also the model for "Woman in the Black Dress" (B.31) and "Her Sadness" (B.30). The latter work is listed in Kizette de Lempicka-Foxhall's book as "Portrait of Mrs. P." -
Woman in a Black Dress
B.0311923Oil on canvas195 x 60,5 cm (76 3/4 x 23 7/8 in)T. DE LEMPITZKY. 23 (top right)(Femme à la robe noire)Cropped very closely and narrowly, a pathetic figure in black and red clasps a little red book to her bosom. Lempicka's friend Ira Perrot may well have sat for this new portrait.Collections1975 - Brockstedt Gallery - Germany
1980 - Private collection - Argentina
1992 - Private collection - GermanyExhibitions1923 - Salon des Indépendants 1923, Paris, France
1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1980 - Musée des Arts Décoratifs 1980, "La famille des portraits", Paris, France
1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, ItalyHistoryIra PERROT, Family or close friend: Until 1939, Ira Perrot and Lempicka were close friends. Besides sitting for her 1930 portrait ("Portrait of Ira Perrot" [B.143]), most probably Perrot was also the model for "Woman in the Black Dress" (B.31) and "Her Sadness" (B.30). The latter work is listed in Kizette de Lempicka-Foxhall's book as "Portrait of Mrs. P."Auctions12/05/1987 - NEW YORK. Sotheby's “5574-Surprise”, # 335 $ 0
01/07/1992 - LONDON. Sotheby's “Rodo”, # 235 $ 94 300 -
75
B.0321923Oil on canvas(75 *)Unidentified work.Exhibitions1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States -
Double "47"
B.033circa1924Oil on wood panel46 x 38 cm (18 1/8 x 15 in)(Le double "47" *)Double portrait of the same woman with an "urchin cut". At the time, high street numbers indicated hotels used as brothels. Would this explain the significance of the high title number, 47?Collections1975 - Brockstedt Gallery - Germany
1976 - Private collection - GermanyExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan -
Portrait of a Woman with Cap
B.034circa1924Oil on canvas(Portrait de femme au bonnet)A well-built "urchin", sporting a cap, gazes fixedly at something she seems to disapprove of. All trace of this painting has been lost.Collections1924 - Unknown collectionExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy -
Woman Figure
B.035circa1924Oil on board29 x 18 cm (11 3/8 x 7 1/8 in)(Figure de femme)Auctions09/11/1995 - NEW YORK. Sotheby's "6770-Zabbik", # 438 $ 0 -
The Widow
B.036circa1924Oil on canvas52 x 34 cm (20 1/2 x 13 3/8 in)(La veuve *)The title of this work in fact dissembles an early attempt at handling religious subjects (compare with "The Mother Superior" of 1935).Collections1925 - Purchased directly by Mr. Ch. Guénot - FranceExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, FranceHistoryThe RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla). -
The Green Veil
B.037circa1924Oil on canvas46 x 33 cm (18 1/8 x 13 in)(Le voile vert)Like the one preceding it, this painting is obviously spiritually oriented.Collections1927 - Purchased directly by Mr. Rufus Bush - U.S.A.
1995 - Barry Friedman Ltd. - U.S.A.
1996 - Private collection - U.S.A.Exhibitions1996 - Barry Friedman Ltd. "Tamara de Lempicka", New-York, United States
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, JapanHistoryThe RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).Auctions08/11/1995 - NEW YORK. Christie's "Pietro-7669", # 239 $ 95 000 -
Still Life with a Russian Doll
B.038circa1924Oil on canvas on cardboard33 x 24 cm (13 x 9 1/2 in)T.DE LEMPICKA. (artist's stamp bottom right)(Nature morte à la poupée russe)During this same period, realist painters of the Belgian and Dutch schools (such as Dick Keit) were taking a similar approach to such subjects.Collections1987 - Private collection - U.S.A. -
The Open Book
B.039circa1924Oil on canvas on cardboard24 x 35 cm (9 1/2 x 13 3/4 in)T.DE LEMPICKA. (bottom right)(Le livre ouvert *)Shown as a pendant to "The Red Bird", at Milan's Bottega di Poesia exhibition of 1925.Collections1989 - Private collection - FranceExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, JapanAuctions17/12/1989 - PARIS. Charbonneaux. Drouot Montaigne, # 13 $ 31 300 -
The Red Bird
B.0401924Oil on canvas on cardboard24 x 33 cm (9 1/2 x 13 in)T.DE LEMPICKA. (bottom right)(L'oiseau rouge *)The unusual juxtaposition of these objects is like a riddle. Shown as a pendant to "The Open Book", at the Bottega di Poesia exhibition of 1925.Collections1985 - Private collection - ItalyExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1980 - Palazzo Reale, "L'Altra Metà dell'Avanguardia 1910-1940", Milan, Italy
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan -
A Harbor in the Moonlight
B.041circa1924Oil on canvas43 x 38 cm (16 7/8 x 15 in)T.DE LEMPICKA. (top left)(Un port sous la lune)The mysterious thematic combination of a red bird and a hammer reappears here (cf. "The Red Bird"). The still life has been expanded to include a nocturnal vision of a harbor, bringing to mind Pierre Roy's subtle Surrealist compositions.Collections1930 - Purchased directly by Mr. Surdik - Czechoslovakia
1988 - Barry Friedman Ltd. - U.S.A.
1990 - Private collection - GermanyExhibitions1989 - Museo Nacional de Arte, "Tamara de Lempicka", Mexico, MexicoHistoryThe poetry of PORTS, Biography, Psychology: In a delightful article published in the 16 June 1961 edition of Aux Ecoutes, the critic Michel Georges-Michel gave an account of his before-the-war encounter with Lempicka in a sailor bar in Cannes (see Bibliography Georges-Michel Michel, art. cit.). The shady and nostalgic poetry of ports was greatly appreciated in the realist literature and movies of this era. André Lhote, too, enjoyed depicting it. -
Broom and Turned-Around Painting
B.042circa1924Oil on canvas46 x 38 cm (18 1/8 x 15 in)T.DE LEMPICKA. (bottom left)(Balai et toile retournée)Could this be an allegory? Perhaps an irrepressible desire to sweep away modern art, for instance ?Collections1970 - Galerie du Luxembourg - France
1979 - Private collection - France -
Broom and Pitcher
B.043circa1924Oil on canvas46 x 38 cm (18 1/8 x 15 in)T.DE LEMPICKA. (top left)(Balai et broc)The modesty of this work's subject matter is poles apart from the sort of image of herself Lempicka sought to project. As such, it enhances the straightforwardness and clearly defined curved contours of the composition.Collections1972 - Private collection - FranceExhibitions1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan -
Il giacinto
B.044circa1924Oil on canvas(Il giacinto *)Unidentified work.Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy -
Bottle and Cauliflower
B.045circa1924Oil on canvas46 x 55 cm (18 1/8 x 21 5/8 in)T DE LEMPICKA (top right)(Bouteille et chou-fleur)The work's ill-assorted objects are intriguing (as in all of this artist's still lifes). Featured together on one side of this hard-to-digest trinity are a cauliflower and a loaf of bread. So far, so good. But how does the bottle of "apéritif" fit in? Above all, this random juxtaposing serves as pretext for a superb play of light.Collections1994 - Barry Friedman Ltd. - U.S.A.Exhibitions1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1996 - Barry Friedman Ltd. "Tamara de Lempicka", New-York, United States
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan -
Head of a Woman
B.046circa1924Oil on wood panel34,5 x 36 cm (13 5/8 x 14 1/8 in)Lempicka (pencilled bottom right)(Tête de femme)The model's prominent cheekbones are reminiscent of Lempicka's "Head of a Slavic Woman" and "Head of a Brutal Woman".Collections1992 - Private collection - FranceAuctions06/12/1987 - MONACO. Christie's “Emile”, # 13 $ 0
09/04/1989 - PARIS. Loudmer, # 378 $ 27 300
09/07/1992 - PARIS. Briest, # 99 $ 12 900
05/11/1992 - PARIS. Briest, # 199 $ 0 -
Portrait of Madame Zanetos
B.0471924Oil on canvas92 x 73 cm (36 1/4 x 28 3/4 in)(Portrait de Madame Zanetos )The colonnade in the background foretells the portrait of the Dutchess of La Salle.Collections1983 - Private collection - U.S.A.Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1925 - Salon des Indépendants 1925, Paris, France
1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, FranceHistoryMrs. ZANETOS, Portrait retained by Lempicka: Mrs. Zanetos had coal black eyebrows, giving her a somewhat fierce expression. She must have been dissatisfied with her portrait and refused it, since it showed up at the next year's Salon des Indépendants, where it was priced at Frs. 10,000. It never got sold and, twenty-five years later, it was still in the artist's studio. -
Portrait of Kizette
B.048circa1924Oil on canvas135 x 57 cm (53 1/8 x 22 1/2 in)T.DE LEMPICKA. (artist's stamp bottom right)(Portrait de Kizette)This is the second known portrait of Kizette. The dress she wears here is the latest word in fashion.Collections1979 - Barry Friedman Ltd. - U.S.A.
1983 - Private collection - U.S.A.Exhibitions1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan -
Portrait of the Duchess of Valmy
B.0491924Oil on canvas73 x 50 cm (28 3/4 x 19 5/8 in)T.DE LEMPICKA. (bottom right)(Portrait de la Duchesse de Valmy *)Lempicka's taste for abstraction shows through very clearly in the background of this work.Collections1924 - Purchased directly by Mr. Edmond Honoré - France
1972 - Galerie du Luxembourg - France
1976 - Private collection - FranceExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, ItalyHistoryDuchess de VALMY, Client: The Duchess of Valmy took delivery of her portrait in 1924: most probably, this was the first commission that Lempicka - who was 26 at the time - brought to a successful conclusion.Auctions26/11/1976 - PARIS. Godeau, Solanet, Audap. Drouot RG, # 44 $ 3 960 -
Portrait of Constantin Stifter
B.0501924Oil on canvas23 Avril (top right)(Portrait de Constantin Stifter)A man wearing a white shirt with a jabot stands out against a green curtain piece. This handsome portrait which, to date, has never cropped up on the market, depicts Lempicka's cousin (cf. Stifter in Repertory), who had welcomed and assisted her upon her arrival in Paris.Collections1924 - Purchased directly by Mr. Constantin Sti - FranceExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1925 - Salon des Indépendants 1925, Paris, FranceHistoryConstantin STIFTER, Family or close friend: Constantin Stifter (or "Kostia" Stifter) took in Lempicka and her sister Adrienne (Ada) when they arrived in Paris in 1919. Lempicka did a very handsome portrait of him in 1924. Around then as well, Stifter did a series of photos in Lempicka's studio at place Wagram, unwittingly recording for posterity certain paintings that have since disappeared. -
Rythm
B.0511924Oil on canvas160 x 144 cm (63 x 56 3/4 in)T DE LEMPITZKY (bottom left)(Le rythme *)This group of nudes features a cello, but there is no hint of any percussion intruments! Thus, the title is meant in a more metaphoric sense, and it is the rhythm of the lines that we should perceive. The influence of Ingres is often brought up in connection with this work, acquired - upon the occasion of Lempicka's show at the Bottega di Poesia - by the Swiss writer Cuno Hoffer. In an interview granted COSE in March 1933, Lempicka disclosed: << One of my paintings - Rythm - appealed to d'Annunzio (he mentions it in its writing).>>Collections1929 - Purchased directly by Mr. Kuno Hoffer - Hungaria
1935 - Private collection - Switzerland
1972 - Private collection - Switzerland
1991 - Private collection -Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1926 - Salon des Indépendants 1926, Paris, FranceHistoryCuno HOFER, Client: Cuno Hofer was the proud owner of the largest (in format) work ever to leave the artist's studio. In an interview for the Italian journal Cose, in March 1933, Lempicka described Hofer as "a famous Swiss writer, who met tragic death two years before in Saint Moritz." Hofer must have been a shrewd collector as well, one who appreciated the Neue Sachlichkeit trend, judging from the fact that he had Davringhausen do his portrait in 1922. (Collection Barry Friedman, New York).