Family & Friends
Tamara´s Life
Artwork
Exhibitions
Tamara Today
Contact us
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.
hide all paintings
spacer
spacerStudy for a Portrait
Study for a Portrait
spacerMechanist Composition
Mechanist Composition
spacerAbstract Composition
Abstract Composition
spacerAbstract Composition
Abstract Composition
spacerAbstract Composition
Abstract Composition
spacer
spacerMan, Seated Nude
Man, Seated Nude
spacerPensive Athlete
Pensive Athlete
spacerMan, Standing Nude
Man, Standing Nude
spacerReclining Nude
Reclining Nude
spacerSeated Nude
Seated Nude
spacer
spacerStanding Nude, with Raised Arms
Standing Nude, with Raised Arms
spacerStanding Nude, with Raised Arms
Standing Nude, with Raised Arms
spacerHugging Figures
Hugging Figures
spacerTwo Hugging Women. Lacquer decor project
Two Hugging Women. Lacquer decor project
spacerWoman and Stag. Lacquer decor project
Woman and Stag. Lacquer decor project
spacer
spacerTwo Women. Lacquer decor project
Two Women. Lacquer decor project
spacerWoman before Her Mirror
Woman before Her Mirror
spacerTwo Girlfriends
Two Girlfriends
spacerSeated Nude Woman
Seated Nude Woman
spacerWomen Bathing
Women Bathing
spacer
spacerThe Sewing Workroom
The Sewing Workroom
spacerThe Picking
The Picking
spacerTheater Allegory
Theater Allegory
spacerStudy
Study
spacerDraped Woman
Draped Woman
spacer
spacerNude as a Bust
Nude as a Bust
spacerSeated Nude
Seated Nude
spacerAt the Café
At the Café
spacerCafé Scene
Café Scene
spacerReading
Reading
spacer
spacerAt the Café, Man with Cigarette
At the Café, Man with Cigarette
spacerAt the Café
At the Café
spacerConcirca ation
Concirca ation
spacerAt the Café
At the Café
spacerSeated Young Lady
Seated Young Lady
spacer
spacerNude, Blue Background
Nude, Blue Background
spacerA Street at Night
A Street at Night
spacerLake and Mountain Landscape
Lake and Mountain Landscape
spacerSeated Nude in Profile
Seated Nude in Profile
spacerBrutal Woman Figure
Brutal Woman Figure
spacer
spacerSeated Nude
Seated Nude
spacerThe Sleeping Girl
The Sleeping Girl
spacerPerspective
Perspective
spacerSeated Nude
Seated Nude
spacerIl fondo rosa (Portrait of Bibi Zögbe)
Il fondo rosa (Portrait of Bibi Zögbe)
spacer
spacerFigure Study
Figure Study
spacerPortrait of a Man in a Club Chair
Portrait of a Man in a Club Chair
spacerThe Louis-Philippe Decanter
The Louis-Philippe Decanter
spacerThe Gypsy
The Gypsy
spacerHer Sadness
Her Sadness
spacer
spacerWoman in a Black Dress
Woman in a Black Dress
spacer75
75
spacerDouble
Double "47"
spacerPortrait of a Woman with Cap
Portrait of a Woman with Cap
spacerWoman Figure
Woman Figure
spacer
spacerThe Widow
The Widow
spacerThe Green Veil
The Green Veil
spacerStill Life with a Russian Doll
Still Life with a Russian Doll
spacerThe Open Book
The Open Book
spacerThe Red Bird
The Red Bird
spacer
spacerA Harbor in the Moonlight
A Harbor in the Moonlight
spacerBroom and Turned-Around Painting
Broom and Turned-Around Painting
spacerBroom and Pitcher
Broom and Pitcher
spacerIl giacinto
Il giacinto
spacerBottle and Cauliflower
Bottle and Cauliflower
spacer
spacerHead of a Woman
Head of a Woman
spacerPortrait of Madame Zanetos
Portrait of Madame Zanetos
spacerPortrait of Kizette
Portrait of Kizette
spacerPortrait of the Duchess of Valmy
Portrait of the Duchess of Valmy
spacerPortrait of Constantin Stifter
Portrait of Constantin Stifter
spacer
spacerRythm
Rythm
spacer
spacer
prev
next
  • Study for a Portrait
    enlarge

    Study for a Portrait

    A.014
    circa1923
    Conté pencil on paper
    24 x 15,5 cm (9 1/2 x 6 1/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Etude pour un portrait)
    Collections
    1972 - Private collection - France
  • Mechanist Composition
    enlarge

    Mechanist Composition

    A.015
    circa1923
    Conté pencil on paper
    11,2 x 7,6 cm (4 3/8 x 3 in) 
    LEMPICKA. (artist's stamp bottom right)
    measurements of the drawing (Composition mécaniste)
    Collections
    1972 - Private collection - France
  • Abstract Composition
    enlarge

    Abstract Composition

    A.016
    circa1923
    Crayon on paper
    23,6 x 14,2 cm (9 1/4 x 5 5/8 in) 
    LEMPICKA. (artist's stamp bottom right)
    (Composition abstraite)
    Collections
    1994 - Private collection - France
  • Abstract Composition
    enlarge

    Abstract Composition

    A.017
    circa1923
    Crayon on paper
    23,6 x 14,2 cm (9 1/4 x 5 5/8 in) 
    T.L. (bottom left)
    (Composition abstraite)
    Collections
    1970 - Private collection - France
  • Abstract Composition
    enlarge

    Abstract Composition

    A.018
    circa1923
    Watercolor on paper
    18 x 8 cm (7 1/8 x 3 1/8 in) 
    LEMPICKA. (artist's stamp bottom right)
    (Composition abstraite)
    Collections
    1970 - Private collection - France
  • Man, Seated Nude
    enlarge

    Man, Seated Nude

    A.019
    circa1923
    Crayon on paper
    22,8 x 13,3 cm (9 x 5 1/4 in) 
    de Lempicka (bottom right)
    (Homme, nu assis)
  • Pensive Athlete
    enlarge

    Pensive Athlete

    A.020
    circa1923
    Crayon on paper
    22,8 x 13,3 cm (9 x 5 1/4 in) 
    de Lempicka (bottom left)
    (Athlète pensif)
  • Man, Standing Nude
    enlarge

    Man, Standing Nude

    A.021
    circa1923
    Crayon on paper
    23,6 x 14,2 cm (9 1/4 x 5 5/8 in) 
    T. de Lempicka (bottom right)
    (Homme, nu debout)
    Exhibitions
    1981 - Walter Haas: Art Déco, le Style Moderne, Zuerich, Switzerland
  • Reclining Nude
    enlarge

    Reclining Nude

    A.022
    circa1923
    Crayon on paper
    15,5 x 23,5 cm (6 1/8 x 9 1/4 in) 
    de Lempicka (bottom left)
    (Nu allongé)
    Auctions
    13/02/1986 - NEW YORK. Christie's “Christine-6084”, # 110 $ 0
  • Seated Nude
    enlarge

    Seated Nude

    A.023
    circa1923
    Crayon on paper
    23,6 x 14,2 cm (9 1/4 x 5 5/8 in) 
    de Lempicka (bottom left)
    (Nu assis)
    Collections
    1972 - Private collection - France
  • Standing Nude, with Raised Arms
    enlarge

    Standing Nude, with Raised Arms

    A.024
    circa1923
    Crayon on paper
    23,6 x 14,2 cm (9 1/4 x 5 5/8 in) 
    de Lempicka (bottom left)
    (Nu debout, bras levés)
    Auctions
    05/05/1986 - PARIS. Renaud, # 20 $ 0
  • Standing Nude, with Raised Arms
    enlarge

    Standing Nude, with Raised Arms

    A.025
    circa1923
    Crayon on paper
    23,6 x 14,2 cm (9 1/4 x 5 5/8 in) 
    Lempicka (bottom right)
    (Nu assis, bras levés)
    Auctions
    15/05/1986 - NEW YORK. Christie's “Vigée-6130”, # 145 $ 6 000
  • Hugging Figures
    enlarge

    Hugging Figures

    A.026
    circa1923
    Crayon on paper
    23 x 15 cm (9 x 5 7/8 in) 
    (Personnages enlacés)
    Auctions
    02/11/1993 - 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
    enlarge

    Two Hugging Women. Lacquer decor project

    A.027
    circa1923
    Crayon on paper
    13,3 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.
    History
    The 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.
    Auctions
    13/05/1987 - NEW YORK. Phillips “662”, # 42 $ 2 900
  • Woman and Stag. Lacquer decor project
    enlarge

    Woman and Stag. Lacquer decor project

    A.028
    circa1923
    13,3 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).
    History
    The 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.
    Auctions
    21/06/1988 - PARIS. Briest, # 160 $ 6 330
  • Two Women. Lacquer decor project
    enlarge

    Two Women. Lacquer decor project

    A.029
    circa1923
    Crayon on paper
    13,3 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).
    History
    The 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
    enlarge

    Woman before Her Mirror

    A.030
    circa1924
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    LEMPICKA. (bottom left)
    (Femme devant son miroir)
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Two Girlfriends
    enlarge

    Two Girlfriends

    A.031
    circa1924
    Watercolor on paper
    10 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.
    Collections
    1972 - Private collection - France
  • Seated Nude Woman
    enlarge

    Seated Nude Woman

    A.032
    circa1924
    Watercolor on paper
    12,5 x 15,5 cm (4 7/8 x 6 1/8 in) 
    (Femme nue assise)
    Auctions
    05/11/1991 - NEW YORK. Christie's “Audrey-7247”, # 75 $ 4 200
  • Women Bathing
    enlarge

    Women Bathing

    A.033
    circa1924
    Crayon on paper
    8,7 x 11,3 cm (3 3/8 x 4 1/2 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Baigneuses)
    Auctions
    21/06/1988 - PARIS. Briest, # 152 $ 2 250
  • The Sewing Workroom
    enlarge

    The Sewing Workroom

    A.034
    circa1924
    Crayon on paper
    15,6 x 14,1 cm (6 1/8 x 5 1/2 in) 
    (L'atelier de couture)
  • The Picking
    enlarge

    The Picking

    A.035
    1924
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    Lempicka Florence 1924. (top right)
    (La cueillette)
  • Theater Allegory
    enlarge

    Theater Allegory

    A.036
    circa1924
    Crayon on paper
    8,7 x 11,3 cm (3 3/8 x 4 1/2 in) 
    T. Lempicka Florence 1924. (top right)
    (Allégorie du théatre)
    Auctions
    24/01/1990 - PARIS. Loudmer, # 185 $ 0
    22/11/1989 - PARIS. Ader, # 98 $ 0
    13/06/1990 - PARIS. Cornette de St C. , # 52 $ 4 600
  • Study
    enlarge

    Study

    A.037
    circa1924
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    LEMPICKA (artist's stamp bottom left)
    (Etude)
    Auctions
    21/06/1988 - PARIS. Briest, # 168 $ 2 330
  • Draped Woman
    enlarge

    Draped Woman

    A.038
    circa1924
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Femme drapée)
    Auctions
    21/06/1988 - PARIS. Briest, # 167 $ 5 000
  • Nude as a Bust
    enlarge

    Nude as a Bust

    A.039
    circa1924
    Crayon on paper
    11,3 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
    enlarge

    Seated Nude

    A.040
    circa1924
    Crayon on paper
    23,8 x 15,6 cm (9 3/8 x 6 1/8 in) 
    T.DE LEMPICKA. (artist's stamp bottom left)
    (Nu assis)
    Collections
    1989 - Collection of Anna Gardner Luce - U.S.A.
  • At the Café
    enlarge

    At the Café

    A.041
    circa1924
    Crayon on paper
    16 x 10,5 cm (6 1/4 x 4 1/8 in) 
    Florence 1924 Lempicka (top left)
    (Au café)
    Collections
    1980 - Private collection - U.S.A.
  • Café Scene
    enlarge

    Café Scene

    A.042
    circa1924
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    LEMPICKA. (bottom right)
    (Scène de café)
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Reading
    enlarge

    Reading

    A.043
    circa1924
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    LEMPICKA (artist's stamp bottom right)
    (La lecture)
    Auctions
    21/06/1988 - PARIS. Briest, # 153 $ 2 000
  • At the Café, Man with Cigarette
    enlarge

    At the Café, Man with Cigarette

    A.044
    circa1924
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    LEMPICKA. (artist's stamp bottom left)
    (Au café, homme à la cigarette)
    Collections
    1972 - Private collection - France
  • At the Café
    enlarge

    At the Café

    A.045
    circa1924
    Crayon on paper
    8,7 x 11,3 cm (3 3/8 x 4 1/2 in) 
    T.DE LEMPICKA (artist's stamp top left)
    (Au café)
    Auctions
    21/06/1988 - PARIS. Briest, # 169 $ 2 170
  • Concirca ation
    enlarge

    Concirca ation

    A.046
    circa1924
    Crayon on paper
    16 x 10,5 cm (6 1/4 x 4 1/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Concirca ation)
    Auctions
    21/02/1990 - NEW YORK. Sotheby's Arcade ”1309”, # 67 ter $ 0
    21/06/1988 - PARIS. Briest, # 151 $ 1 670
  • At the Café
    enlarge

    At the Café

    A.047
    circa1924
    Crayon on paper
    16 x 10,5 cm (6 1/4 x 4 1/8 in) 
    (Au café)
    Auctions
    05/11/1991 - NEW YORK. Christie's “Audrey-7247”, # 76 $ 1 100
  • Seated Young Lady
    enlarge

    Seated Young Lady

    A.048
    circa1924
    Crayon on paper
    16 x 10,5 cm (6 1/4 x 4 1/8 in) 
    T.DE LEMPICKA (artist's stamp bottom left)
    (Jeune femme assise)
    Auctions
    21/02/1990 - NEW YORK. Sotheby's Arcade ”1309”, # 61 $ 0
    21/06/1988 - PARIS. Briest, # 149 $ 2 000
  • Nude, Blue Background
    enlarge

    Nude, Blue Background

    B.016
    1923
    Oil on canvas
    70 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.
    Collections
    1990 - Private collection -
    Auctions
    26/02/1990 - 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
    enlarge

    A Street at Night

    B.017
    circa1923
    Oil on cardboard
    50 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.
    Collections
    1972 - Galerie du Luxembourg - France
    1980 - Private collection - France
    Exhibitions
    1925 - 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
    enlarge

    Lake and Mountain Landscape

    B.018
    circa1923
    Oil 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.
    Collections
    1923 - Unknown collection
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
  • Seated Nude in Profile
    enlarge

    Seated Nude in Profile

    B.019
    circa1923
    Oil on canvas
    81 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.
    Collections
    1970 - Galerie du Luxembourg - France
    1978 - Private collection - France
    1993 - Private collection - France
    1996 - Barry Friedman Ltd. - U.S.A.
    Exhibitions
    1996 - Barry Friedman Ltd. "Tamara de Lempicka", New-York, United States
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    Auctions
    26/06/1991 - PARIS. Boisgirard, # 73 $ 0
  • Brutal Woman Figure
    enlarge

    Brutal Woman Figure

    B.020
    circa1923
    Oil on canvas
    (Figure d'une femme brutale)
    A painting identified through a photo of Lempicka's studio taken by her cousin, Constantin Stifter.
    Collections
    1923 - Unknown collection
  • Seated Nude
    enlarge

    Seated Nude

    B.021
    circa1923
    Oil on canvas
    94 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.
    Collections
    1986 - Barry Friedman Ltd. - U.S.A.
    1991 - Private collection - U.S.A.
    Exhibitions
    1984 - 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
    enlarge

    The Sleeping Girl

    B.022
    1923
    Oil on canvas
    89 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.
    Collections
    1980 - Private collection - U.S.A.
    1980 - Barry Friedman Ltd. - U.S.A.
    Exhibitions
    1924 - 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
    enlarge

    Perspective

    B.023
    1923
    Oil on canvas
    130 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.).
    Collections
    1969 - Musée du Petit Palais, Genève - Switzerland
    Exhibitions
    1923 - 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
    enlarge

    Seated Nude

    B.024
    circa1923
    Oil on canvas
    92 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.
    Collections
    1985 - Private collection - U.S.A.
    Exhibitions
    1984 - Hollywood American Legion Post, "Tamara", Los Angeles, United States
    Auctions
    13/11/1985 - NEW YORK. Christie's “Rudolf-6020", # 311 $ 26 000
  • Il fondo rosa (Portrait of Bibi Zögbe)
    enlarge

    Il fondo rosa (Portrait of Bibi Zögbe)

    B.025
    1923
    Oil on canvas
    47 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 herself
    Collections
    1924 - Purchased directly by Mrs. Bibi Zögbe - Argentina
    1995 - Barry Friedman Ltd. - U.S.A.
    1997 - Private collection - Milan
    Exhibitions
    1925 - 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, Japan
    History
    Bibi 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.
    Auctions
    05/10/1992 - 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
    enlarge

    Figure Study

    B.026
    circa1923
    Oil 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.
    Collections
    1923 - Unknown collection -
  • Portrait of a Man in a Club Chair
    enlarge

    Portrait of a Man in a Club Chair

    B.027
    1923
    Oil on canvas
    T.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".
    Collections
    1923 - Unknown collection
    Exhibitions
    1923 - Salon des Indépendants 1923, Paris, France
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
    History
    Tadeusz 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
    enlarge

    The Louis-Philippe Decanter

    B.028
    1923
    Oil on canvas
    35 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.
    Collections
    1979 - Private collection - France
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
  • The Gypsy
    enlarge

    The Gypsy

    B.029
    circa1923
    Oil on canvas
    73 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).
    Collections
    1984 - Private collection - Switzerland
    Exhibitions
    1924 - Salon des Indépendants 1924, Paris, France
    Auctions
    16/05/1984 - NEW YORK. Sotheby's "5183", # 411 $ 16 500
  • Her Sadness
    enlarge

    Her Sadness

    B.030
    1923
    Oil on canvas
    116 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.
    Collections
    1924 - Purchased directly by Dr. Arthur Bookman - U.S.A.
    1980 - Private collection - U.S.A.
    Exhibitions
    1923 - Salon des Indépendants 1923, Paris, France
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
    History
    Ira 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
    enlarge

    Woman in a Black Dress

    B.031
    1923
    Oil on canvas
    195 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.
    Collections
    1975 - Brockstedt Gallery - Germany
    1980 - Private collection - Argentina
    1992 - Private collection - Germany
    Exhibitions
    1923 - 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, Italy
    History
    Ira 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."
    Auctions
    12/05/1987 - NEW YORK. Sotheby's “5574-Surprise”, # 335 $ 0
    01/07/1992 - LONDON. Sotheby's “Rodo”, # 235 $ 94 300
  • 75
    enlarge

    75

    B.032
    1923
    Oil on canvas
    (75 *)
    Unidentified work.
    Exhibitions
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
  • Double
    enlarge

    Double "47"

    B.033
    circa1924
    Oil on wood panel
    46 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?
    Collections
    1975 - Brockstedt Gallery - Germany
    1976 - Private collection - Germany
    Exhibitions
    1925 - 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
    enlarge

    Portrait of a Woman with Cap

    B.034
    circa1924
    Oil 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.
    Collections
    1924 - Unknown collection
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
  • Woman Figure
    enlarge

    Woman Figure

    B.035
    circa1924
    Oil on board
    29 x 18 cm (11 3/8 x 7 1/8 in) 
    (Figure de femme)
    Auctions
    09/11/1995 - NEW YORK. Sotheby's "6770-Zabbik", # 438 $ 0
  • The Widow
    enlarge

    The Widow

    B.036
    circa1924
    Oil on canvas
    52 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).
    Collections
    1925 - Purchased directly by Mr. Ch. Guénot - France
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    History
    The 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
    enlarge

    The Green Veil

    B.037
    circa1924
    Oil on canvas
    46 x 33 cm (18 1/8 x 13 in) 
    (Le voile vert)
    Like the one preceding it, this painting is obviously spiritually oriented.
    Collections
    1927 - Purchased directly by Mr. Rufus Bush - U.S.A.
    1995 - Barry Friedman Ltd. - U.S.A.
    1996 - Private collection - U.S.A.
    Exhibitions
    1996 - Barry Friedman Ltd. "Tamara de Lempicka", New-York, United States
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    History
    The 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).
    Auctions
    08/11/1995 - NEW YORK. Christie's "Pietro-7669", # 239 $ 95 000
  • Still Life with a Russian Doll
    enlarge

    Still Life with a Russian Doll

    B.038
    circa1924
    Oil on canvas on cardboard
    33 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.
    Collections
    1987 - Private collection - U.S.A.
  • The Open Book
    enlarge

    The Open Book

    B.039
    circa1924
    Oil on canvas on cardboard
    24 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.
    Collections
    1989 - Private collection - France
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    Auctions
    17/12/1989 - PARIS. Charbonneaux. Drouot Montaigne, # 13 $ 31 300
  • The Red Bird
    enlarge

    The Red Bird

    B.040
    1924
    Oil on canvas on cardboard
    24 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.
    Collections
    1985 - Private collection - Italy
    Exhibitions
    1925 - 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
    enlarge

    A Harbor in the Moonlight

    B.041
    circa1924
    Oil on canvas
    43 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.
    Collections
    1930 - Purchased directly by Mr. Surdik - Czechoslovakia
    1988 - Barry Friedman Ltd. - U.S.A.
    1990 - Private collection - Germany
    Exhibitions
    1989 - Museo Nacional de Arte, "Tamara de Lempicka", Mexico, Mexico
    History
    The 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
    enlarge

    Broom and Turned-Around Painting

    B.042
    circa1924
    Oil on canvas
    46 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 ?
    Collections
    1970 - Galerie du Luxembourg - France
    1979 - Private collection - France
  • Broom and Pitcher
    enlarge

    Broom and Pitcher

    B.043
    circa1924
    Oil on canvas
    46 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.
    Collections
    1972 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Il giacinto
    enlarge

    Il giacinto

    B.044
    circa1924
    Oil on canvas
    (Il giacinto *)
    Unidentified work.
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
  • Bottle and Cauliflower
    enlarge

    Bottle and Cauliflower

    B.045
    circa1924
    Oil on canvas
    46 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.
    Collections
    1994 - Barry Friedman Ltd. - U.S.A.
    Exhibitions
    1972 - 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
    enlarge

    Head of a Woman

    B.046
    circa1924
    Oil on wood panel
    34,5 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".
    Collections
    1992 - Private collection - France
    Auctions
    06/12/1987 - 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
    enlarge

    Portrait of Madame Zanetos

    B.047
    1924
    Oil on canvas
    92 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.
    Collections
    1983 - Private collection - U.S.A.
    Exhibitions
    1925 - 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, France
    History
    Mrs. 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
    enlarge

    Portrait of Kizette

    B.048
    circa1924
    Oil on canvas
    135 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.
    Collections
    1979 - Barry Friedman Ltd. - U.S.A.
    1983 - Private collection - U.S.A.
    Exhibitions
    1972 - 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
    enlarge

    Portrait of the Duchess of Valmy

    B.049
    1924
    Oil on canvas
    73 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.
    Collections
    1924 - Purchased directly by Mr. Edmond Honoré - France
    1972 - Galerie du Luxembourg - France
    1976 - Private collection - France
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
    History
    Duchess 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.
    Auctions
    26/11/1976 - PARIS. Godeau, Solanet, Audap. Drouot RG, # 44 $ 3 960
  • Portrait of Constantin Stifter
    enlarge

    Portrait of Constantin Stifter

    B.050
    1924
    Oil on canvas
    23 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.
    Collections
    1924 - Purchased directly by Mr. Constantin Sti - France
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
    1925 - Salon des Indépendants 1925, Paris, France
    History
    Constantin 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
    enlarge

    Rythm

    B.051
    1924
    Oil on canvas
    160 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).>>
    Collections
    1929 - Purchased directly by Mr. Kuno Hoffer - Hungaria
    1935 - Private collection - Switzerland
    1972 - Private collection - Switzerland
    1991 - Private collection -
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
    1926 - Salon des Indépendants 1926, Paris, France
    History
    Cuno 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).