
Stylistic development
By now, Lempicka had assimilated Lhote's revised brand of cubism; his teachings had left her with a taste for simplified volumes. And, from the Quattrocento masters, she retained, instinctively, the "linea serpentina". Her work of this period conveys the pleasure of using tonal gradations to model the spheres and cylinders with which she built up the bodies of her figures. Partial to a certain monumentalism, Lempicka chose her female models accordingly: whether naked or dressed, they are solidly and powerfully built, yet indisputably female. A certain pictorial aggressivity in her works of this period links them to the Neue Sachlichkeit painters across the Rhine. Frequent stays in Italy, together with the discovery of "Realismo Magico" gradually moderated this approach.
By now, Lempicka had assimilated Lhote's revised brand of cubism; his teachings had left her with a taste for simplified volumes. And, from the Quattrocento masters, she retained, instinctively, the "linea serpentina". Her work of this period conveys the pleasure of using tonal gradations to model the spheres and cylinders with which she built up the bodies of her figures. Partial to a certain monumentalism, Lempicka chose her female models accordingly: whether naked or dressed, they are solidly and powerfully built, yet indisputably female. A certain pictorial aggressivity in her works of this period links them to the Neue Sachlichkeit painters across the Rhine. Frequent stays in Italy, together with the discovery of "Realismo Magico" gradually moderated this approach.




















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Study for "Sharing Secrets"
A.049circa1925Crayon on paper7,6 x 5,5 cm (3 x 2 1/8 in)(Etude pour "les confidences")on the back, a study for "Au salon de thé"- See B.94Collections1972 - Private collection - France -
At the Café, around the Table
A.050circa1925Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)LEMPICKA. (artist's stamp bottom right)(Au café, autour de la table)Collections1980 - Private collection - France -
At the Tearoom
A.051circa1925Crayon on paper7,6 x 5,5 cm (3 x 2 1/8 in)(Au salon de thé)on the back, study for"les confidences"Collections1972 - Private collection - France -
Tearoom
A.052circa1925Crayon on paper10,9 x 8,2 cm (4 1/4 x 3 1/4 in)(Salon de thé)Auctions13/05/1987 - NEW YORK. Phillips "662", # 44 $ 1 800 -
Tearoom
A.053circa1925Crayon on paper10,8 x 8,3 cm (4 1/4 x 3 1/4 in)(Salon de thé)Auctions13/05/1987 - NEW YORK. Phillips "662", # 43 $ 1 500 -
Study for "Two Nudes in Perspective"
A.054circa1925Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)LEMPICKA. (artist's stamp bottom right)(Etude pour "Deux nus en perspective")See B.59Collections1972 - Private collection - France -
Study after...
A.055circa1925Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)(Etude d'après...)Collections1980 - Fundacion Victor Manuel Contreras - Mexico -
Study after...
A.056circa1925Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)LEMPICKA. (artist's stamp bottom left)(Etude d'après...)Collections1972 - Private collection - France -
Study after...
A.057circa1925Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)LEMPICKA. (artist's stamp bottom left)(Etude d'après...)Collections1972 - Private collection - France -
Study after...
A.058circa1925Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)LEMPICKA. (artist's stamp bottom right)(Etude d'après...)Collections1972 - Private collection - France -
Girls Bathing
A.059circa1925Crayon on paper54,5 x 44 cm (21 1/2 x 17 3/8 in)T.DE LEMPICKA (artist's stamp bottom right)(Jeunes filles au bain)Belongs to a set of eight preliminary sketches for an interior design project drawn up for the architect Jean Walter.Auctions21/06/1988 - PARIS. Briest, # 154 $ 2 350 -
Girls Bathing
A.060circa1925Crayon on paper40 x 32 cm (15 3/4 x 12 5/8 in)T.DE LEMPICKA (artist's stamp bottom right)(Jeunes filles au bain)Belongs to a set of eight preliminary sketches for an interior design project drawn up for the architect Jean Walter.Auctions21/06/1988 - PARIS. Briest, # 146 $ 2 170 -
Echo
A.061circa1925Crayon on paper40 x 32 cm (15 3/4 x 12 5/8 in)T.DE LEMPICKA (artist's stamp bottom left) ECHO. (bottom right)(Echo)Belongs to a set of eight preliminary sketches for an interior design project drawn up for the architect Jean Walter.Auctions21/06/1988 - PARIS. Briest, # 174 $ 2 170 -
The Chain
A.062circa1925Crayon on paper40 x 32 cm (15 3/4 x 12 5/8 in)T.DE LEMPICKA (artist's stamp bottom right)(La chaîne)Belongs to a set of eight preliminary sketches for an interior design project drawn up for the architect Jean Walter.Auctions21/06/1988 - PARIS. Briest, # 164 $ 1 670 -
Locirca and Columns
A.063circa1925Crayon on paper40 x 33 cm (15 3/4 x 13 in)(Amants et colonnes)Belongs to a set of eight preliminary sketches for an interior design project drawn up for the architect Jean Walter.Collections1980 - Fundacion Victor Manuel Contreras - Mexico -
Nymphs
A.064circa1925Crayon on paper40 x 32 cm (15 3/4 x 12 5/8 in)T.DE LEMPICKA (artist's stamp bottom left)(Naïades)Belongs to a set of eight preliminary sketches for an interior design project drawn up for the architect Jean Walter.Collections21/06/1988 - PARIS. Briest, # 141 $ 2 170 -
Rearing Horses
A.065circa1925Crayon on paper40 x 32 cm (15 3/4 x 12 5/8 in)(Chevaux cabrés)Belongs to a set of eight preliminary sketches for an interior design project drawn up for the architect Jean Walter.Collections1980 - Fundacion Victor Manuel Contreras - Mexico -
Stampede
A.066circa1925T.DE LEMPICKA (Artist's stamp bottom right)(Cavalcade)Belongs to a set of eight preliminary sketches for an interior design project drawn up for the architect Jean Walter. -
Horse Study
A.067circa1925Crayon on paper30,5 x 23 cm (12 x 9 in)Lempicka (bottom right)(Etude de cheval)Collections1980 - Fundacion Victor Manuel Contreras - Mexico -
Seated Nude
A.068circa1925Crayon on paper18,5 x 27,5 cm (7 1/4 x 10 7/8 in)T.DE LEMPICKA (artist's stamp bottom right)(Nu assis)Auctions21/06/1988 - PARIS. Briest, # 145 $ 2 250 -
Sketch. Reclining Nude I
A.069circa1925Crayon and charcoal heightennings on paper28 x 44 cm (11 x 17 3/8 in)T.DE LEMPICKA (artist's stamp bottom right)(Croquis. Nu allongé I)Auctions21/06/1988 - PARIS. Briest, # 170 $ 3 330 -
Sketch. Reclining Nude II
A.070circa1925Crayon and charcoal heightennings on paper28 x 44 cm (11 x 17 3/8 in)T.DE LEMPICKA (artist's stamp bottom right)(Croquis. Nu allongé II)Auctions21/06/1988 - PARIS. Briest, # 150 $ 3 170 -
Sketch. Reclining Nude III
A.071circa1925Charcoal on paper28 x 44 cm (11 x 17 3/8 in)T.DE LEMPICKA (artist's stamp bottom right)(Croquis. Nu allongé III)Auctions21/06/1988 - PARIS. Briest, # 172 $ 6 500 -
Sketch. Seated Nude I
A.072circa1925Crayon on paper44 x 28 cm (17 3/8 x 11 in)T.DE LEMPICKA. (artist's stamp bottom left)(Croquis. Nu assis I)Collections1994 - Private collection - France -
Sketch. Seated Nude II
A.073circa1925Red chalk on paper44 x 28 cm (17 3/8 x 11 in)T.DE LEMPICKA (artist's stamp bottom right)(Croquis. Nu assis II)Auctions19/11/1992 - NEW YORK. Sotheby's “6365-Fried”, # 172 $ 0 -
Nude with Weight on One Leg I
A.074circa1925Crayon and charcoal heightennings on paper44 x 28 cm (17 3/8 x 11 in)T.DE LEMPICKA (artist's stamp bottom left)(Croquis. Nu déhanché I)Auctions21/06/1988 - PARIS. Briest, # 177 $ 4 000 -
Nude with Weight on One Leg II
A.075circa1925Crayon and charcoal heightennings on paper44 x 28 cm (17 3/8 x 11 in)(Croquis. Nu déhanché II)Collections1980 - Fundacion Victor Manuel Contreras - Mexico -
Study for "Reclining Nude with Book"
A.076circa1926Crayon on paper8,7 x 11,3 cm (3 3/8 x 4 1/2 in)Lempicka Paris 1924. (bottom right)(Etude pour "Nu couché au livre")See B.88.Auctions22/11/1989 - PARIS. Ader, # 99 $ 1 700 -
Study for "La Belle Rafaëla"
A.077circa1926Crayon on paper11,3 x 8,7 cm (4 1/2 x 3 3/8 in)LEMPICKA. (artist's stamp bottom left)(Etude pour la "belle Rafaela")See B.87.Collections1980 - Fundacion Victor Manuel Contreras - MexicoHistoryLa belle RAFAELA, Social connexion: In the biography she devoted to her mother, Lizette de Lempicka-Foxhall informs us that "la belle" Rafaëla apparently approached Lempicka during one of the latter's daily morning walks in the Bois de Boulogne. The young woman, presented to us as a nymphomaniac, but not necessarily venal, is said to have struck Lempicka by her beauty ""...Never had I seen a more beautiful woman - enormous black eyes, a splendid body. I stopped her and asked: 'Miss, I am a painter and I would like you to come sit for me. Would you accept?' She answered: 'Yes, why not?' So I said to her: 'Well, then, come along. My car is here.' " Lempicka seems to have been fully satisfied with her model, since she had her continue the sittings for over a year: for " The Pink Tunic" (B.84) in particular, but apparently she can also be recognized in "The Dream" (B.85), which is captioned "Rafaëla against a Green Background" in an article by Arsène Alexandre ("Tamara de Lempicka", La Renaissance de l'art français et des industries de luxe, July, 1929) -
On the beach
A.078circa1926Crayon on paper8,7 x 11,3 cm (3 3/8 x 4 1/2 in)LEMPICKA. (artist's stamp bottom right)(Sur la plage)Collections1972 - Private collection - France -
Standing Nude, One Arm over Her Head
A.079circa1926Crayon on paperT.de Lempicka (bottom right)(Nu debout, un bras sur la tête) -
Nude from Behind
A.080circa1926Crayon on paper23,6 x 14,2 cm (9 1/4 x 5 5/8 in)T. de Lempicka (bottom left)(Nu de dos)Collections1990 - Collection of Dr. and Mrs. Richard Hirsc - U.S.A. -
Seated Nude, from Behind
A.081circa1926Crayon on paper13 x 22,5 cm (5 1/8 x 8 7/8 in)T.de Lempicka (bottom right)(Nu assis, de dos)Collections1992 - Private collection - FranceExhibitions1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan -
Seated Nude
A.082circa1926Crayon on paper15,3 x 23,5 cm (6 x 9 1/4 in)de Lempicka (bottom right)(Nu assis)Auctions13/02/1986 - NEW YORK. Christie's “Christine-6084”, # 109 $ 3 200 -
Seated Nude
A.083circa1926Crayon on paperde Lempicka (bottom right)(Nu assis) -
Reclining Nude
A.084circa1926Crayon on paper17,5 x 29 cm (6 7/8 x 11 3/8 in)de Lempicka (bottom left)(Nu allongé)Auctions05/05/1986 - PARIS. Renaud, # ? $ 1 140 -
Nude Seated on a Stool
A.085circa1926Crayon on paper19,5 x 13,5 cm (7 5/8 x 5 3/8 in)(Nu assis sur un tabouret) -
Nude
A.086circa1926Crayon on paper19,5 x 13,5 cm (7 5/8 x 5 3/8 in)(Nu) -
Standing Nude Leaning on Her Elbows
A.087circa1926Crayon on paper23 x 12 cm (9 x 4 3/4 in)(Nu debout accoudé) -
Seated Nude, Frontal View
A.088circa1926Crayon on paper23 x 12 cm (9 x 4 3/4 in)(Nu assis, de face) -
Seated Woman with Turtleneck
A.089circa1926Crayon on paper27 x 21 cm (10 5/8 x 8 1/4 in)T.DE LEMPICKA. (artist's stamp bottom center)(Femme assise au col roulé)Collections1989 - Collection of Anna Gardner Luce - U.S.A. -
Young Lady Looking at an Album
A.090circa1926Crayon on paper21,5 x 13,2 cm (8 1/2 x 5 1/4 in)T.DE LEMPICKA. (artist's stamp bottom right)(Jeune femme regardant un album)Collections1972 - Private collection - FranceExhibitions1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan -
Study for a Portrait
A.091circa1926Crayon on paper16 x 10,5 cm (6 1/4 x 4 1/8 in)LEMPICKA. (artist's stamp bottom right)(Etude pour un portrait)Collections1972 - Private collection - France -
Urchin with Her Legs Crossed
A.092circa1926Crayon on paper16 x 12 cm (6 1/4 x 4 3/4 in)(Garçonne, les jambes croisées) -
Portrait of a Young Lady with a Cloche
A.093circa1926Crayon on paper16,5 x 12 cm (6 1/2 x 4 3/4 in)T.DE LEMPICKA. (artist's stamp bottom right)(Portrait d'une jeune femme au chapeau cloche)Collections1972 - Private collection - FranceExhibitions1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan -
Standing Young Lady
A.094circa1926Crayon on paper23,6 x 14,2 cm (9 1/4 x 5 5/8 in)T.DE LEMPICKA (artist's stamp bottom right)(Jeune femme debout)Collections1970 - Private collection - FranceExhibitions1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan -
Seated Woman
A.095circa1926Crayon on paper23,6 x 14,2 cm (9 1/4 x 5 5/8 in)T. de Lempicka. (bottom left)(Femme assise)Collections1972 - Private collection - France -
Do Come to la Coupole
A.096circa1926Crayon on paper15,3 x 12,1 cm (6 x 4 3/4 in)T.DE LEMPICKA (artist's stamp bottom right)("Venez absolument à la Coupole")This imperious message is pencilled on the back of the drawing.CollectionsPrivate collection - France -
Italian Town
A.097circa1926Crayon on paper13 x 10 cm (5 1/8 x 3 7/8 in)LEMPICKA (artist's stamp bottom right)(Ville italienne)Collections1972 - Private collection - France -
Italian Village
A.098circa1926Crayon on paper15,8 x 8,9 cm (6 1/4 x 3 1/2 in)T.de Lempicka (top right)(Village italien)Collections1972 - Private collection - France -
The Railroad Bridge
A.099circa1926Crayon on paper11,9 x 9,8 cm (4 5/8 x 3 7/8 in)sight (Le pont de Chemin de fer) -
Amore e Musica
B.052circa1925Oil on canvas(Amore e Musica * )An unidentified work, described in the catalog as a "monochrome".Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy -
Bridge at 4 PM
B.053circa1925Oil on canvas(Bridge à 16 heures *)An unidentified work.Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy -
La buona Notizia
B.054circa1925Oil on canvas(La buona Notizia *)An unidentified work.Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy -
Portrait of Marquis Sommi
B.0551925Oil on canvas100 x 73 cm (39 3/8 x 28 3/4 in)T.DE LEMPITZKA (bottom right)(Portrait du Marquis Sommi *)During her first long stay in Milan in 1925, Lempicka greatly enjoyed the company of this attractive avant-garde musician, whose wife - Princess Pignatelli (Mananà) - was a sculptress. The couple introduced Lempicka to the Futurist circle, and the latter's influence may have made itself felt in this work.Collections1968 - Private collection - Switzerland
1979 - Barry Friedman Ltd. - U.S.A.
1980 - Private collection - U.S.A.Exhibitions1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, ItalyHistory1925, Chronology: De Lempicka won public acclaim for her one-woman show at the Bottega di Poesia in Milan, organised by Count Emmanuele di Castelbarco. During a prolonged stay in the city she made the acqaintance of a number of italian aristocrats with influence in the art world.
Marquis SOMMI, Portrait retained by Lempicka: According to Gioia Mori, " the Marquis Guido di Girolamo Sommi Picenardi was introduced to Tamara by the Count Emanuele de Castelbarco. At one point, he became her lover. He was a Chevalier of the Legion of Honor with the Knights of Malta, and had married Dame Anna Maria Pignatelli in Rome on 10 March 1917 (op.cit., p.58). The rest of the biographical note seems mistaken, presenting the marquis as "a fascist from the start" - which is to mistake him with his cousin (Gianfrancesco). On the contrary, according to Gianbattista Brambilla, the marquis suffered under the government and was even tortured by the Germans in 1945. Born in Menton in 1894, he died at his castle of Torre de Picenardi in Cremone in 1949. Guido Sommi Picenardi was a vanguard musician, who wrote numerous ballets and pantomimes presented in Rome, Venice, Milan, Brussels, and Paris. His wife, Mananà (Maria Anna Pignatelli Aragona Cortès) was a sculptor. Lempicka described the couple in the following terms: "Mananà and Guido Sommi Picenardi, whose bohemian ways would now be labelled as somewhat "hippy", spearheaded a young and brilliant circle of friends kept busy every night by parties, operas, ballets, music and dinners in private palaces with uniformed staffs. On these occasions, the women were beautifully dressed and covered with jewelry; the men were all very handsome and elegant. The concirca ations were most cultivated and witty." The two portraits of Guido Sommi had remained in the artist's studio.Auctions13/10/1977 - PARIS. Ader, Picard, Tajan. Drouot RG, # 201 $ 5 957
06/12/1975 - PARIS. Loudmer, Poulain (Palais Galliera), # 93 $ 3 068 -
Portrait of Guido Sommi
B.0561925Oil on canvas116 x 61 cm (45 5/8 x 24 in)T.DE LEMPITZKA (bottom left)(Portrait de Guido Sommi)Wearing a coat with a handsome fur collar (the same as in Gabriele d'Annunzio's wardrobe), the marquis/musician seems most imposing. A gap in the heavy drapes discloses his fief: the city of Milan at night. His left hand boasts an emerald. The theme of this work prefigures the portrait of Tadeusz that Lempicka would do three years later.Collections1969 - Galerie du Luxembourg - France
1970 - Private collection - FranceHistory1925, Chronology: De Lempicka won public acclaim for her one-woman show at the Bottega di Poesia in Milan, organised by Count Emmanuele di Castelbarco. During a prolonged stay in the city she made the acqaintance of a number of italian aristocrats with influence in the art world.
Marquis SOMMI, Portrait retained by Lempicka: According to Gioia Mori, " the Marquis Guido di Girolamo Sommi Picenardi was introduced to Tamara by the Count Emanuele de Castelbarco. At one point, he became her lover. He was a Chevalier of the Legion of Honor with the Knights of Malta, and had married Dame Anna Maria Pignatelli in Rome on 10 March 1917 (op.cit., p.58). The rest of the biographical note seems mistaken, presenting the marquis as "a fascist from the start" - which is to mistake him with his cousin (Gianfrancesco). On the contrary, according to Gianbattista Brambilla, the marquis suffered under the government and was even tortured by the Germans in 1945. Born in Menton in 1894, he died at his castle of Torre de Picenardi in Cremone in 1949. Guido Sommi Picenardi was a vanguard musician, who wrote numerous ballets and pantomimes presented in Rome, Venice, Milan, Brussels, and Paris. His wife, Mananà (Maria Anna Pignatelli Aragona Cortès) was a sculptor. Lempicka described the couple in the following terms: "Mananà and Guido Sommi Picenardi, whose bohemian ways would now be labelled as somewhat "hippy", spearheaded a young and brilliant circle of friends kept busy every night by parties, operas, ballets, music and dinners in private palaces with uniformed staffs. On these occasions, the women were beautifully dressed and covered with jewelry; the men were all very handsome and elegant. The concirca ations were most cultivated and witty." The two portraits of Guido Sommi had remained in the artist's studio. -
Irene and Her Sister
B.0571925Oil on canvas146 x 89 cm (57 1/2 x 35 in)DE LEMPITZKA (bottom right)(Irène et sa sœur *)The Declair sisters were Lempicka's cousins. Irene rolls back her eyes in a manner reminiscent of certain Baroque depictions of saints.Collections1983 - Private collection - Switzerland
1985 - Barry Friedman Ltd. - U.S.A.
1994 - Irena Hochman Fine Art Ltd - U.S.A.Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1926 - Salon d'Automne 1926, Paris, France
1977 - Nationalgalerie, "Tendenzen der Zwanziger Jahre", Berlin, Germany
1978 - Hayward Gallery, "Neue Sachlichkeit and German Realism of the 20s", London, Great Britain
1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, JapanHistoryIrene and Ludmilla DECLAIR, Family or close friend: The two sisters, Irène and Ludmilla, were Lempicka's cousins. Irène (Stifter), who died in 1993, had become an architect working in collaboration with Djo-Bourjois. She was also very close to Lempicka's sister, Adrienne, likewise an architect. After attending the Academy of Dresden, Ludmilla (Zolotowski, then Ferri) became a painter under the name Declair. -
Nude on a Terrace
B.0581925Oil on canvas38 x 55 cm (15 x 21 5/8 in)T.DE LEMPICKA.(Nu sur une terrasse)Was Lempicka already dreaming of Mexico in 1925? There is a tropical note to this piece which, through the artist's massive stylization of the figure, comes close to the work produced by Mexican muralists.Collections1990 - Private collection - Germany
1991 - Private collection - GermanyAuctions27/05/1991 - MÜNCHEN. Ketterer, # 75 $ 0 -
Two Nudes in Perspective
B.059circa1925Oil on canvas55 x 33 cm (21 5/8 x 13 in)T.DE LEMPICKA. (top right)(Deux nus en perspective)By concealing the hands and feet, the artist underscores the massive quality of these bodies, which seem monumental in their simplicity and forcefulness. This effect is further enhanced by the work's mirror-effect and the angle of vision from below.Collections1989 - Private collection - France
1990 - Collection of G. Lahaussois - FranceExhibitions1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan -
Seated Nude
B.060circa1925Oil on canvas61 x 38 cm (24 x 15 in)T.DE LEMPICKA. (bottom right)(Nu assis)The pose taken here bespeaks the hard sitting sessions on behalf of art students: this model's somewhat weary attitude brings to mind "Nude, Blue Background" (B.16) of 1923.Collections1991 - Private collection - SwitzerlandExhibitions1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, JapanAuctions22/06/1988 - PARIS. Ader, Picard, Tajan. Hôtel G. V, # 99 $ 83 300
26/07/1991 - DIVONNE-LES-BAINS. Kohn. Casino , # 152 $ 107 500 -
Seated Woman
B.061circa1925Oil on canvas55 x 33 cm (21 5/8 x 13 in)DE LEMPICKA. (top left)(Femme assise)In strange anthopomorphic mimesis of an approach familiar to us through Botero's work, the feet of the chair have been swollen in the same stylized fashion as the model's legs.Collections1997 - Barry Friedman Ltd. - U.S.A.Exhibitions1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, FranceAuctions13/06/1980 - NEW YORK. Sotheby's “4395”, # 469 $ 7 500
06/06/1992 - LYON. J-C Anaf, # 233 $ 0 -
Seated Nude
B.0621925Oil on canvas61 x 38 cm (24 x 15 in)DE LEMPICKA. (top left)(Nu assis)The subject here is a studio nude seen at a sharp angle from below. The background, handled cubistically, brings to mind the screens that were used to protect the models, more or less successfully, from drafts. The body's deformations and enormous legs, most especially, heighten the effect of perspective, in the manner of a wide-angle lens. In the art academies such as "la grande Chaumière", which Lempicka attended, the lack of space often forced first-row students to view the model from an unusual angle. Delving into her recollections of these sessions, Lempicka achieved the characteristic stylization we see here.Collections1980 - Private collection - U.S.A.
1983 - Barry Friedman Ltd. - U.S.A.
1985 - Private collection - U.S.A.Exhibitions1925 - Salon d'Automne 1925, Paris, France
1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1984 - Hollywood American Legion Post, "Tamara", Los Angeles, United StatesAuctions01/10/1983 - NEW YORK. Christie's “Breuer-5404", # 156 $ 0 -
The Model
B.0631925Oil on canvas116 x 73 cm (45 5/8 x 28 3/4 in)T.DE LEMPITZKI. (bottom left)(Le modèle *)The body's sinousity is intensified by a background that, escaping all realism, takes on major importance.Collections1968 - Private collection - Switzerland
1980 - Private collection - U.S.A.
1996 - Barry Friedman Ltd. - U.S.A.Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1996 - Barry Friedman Ltd. "Tamara de Lempicka", New-York, United States -
Group of Four Nudes
B.064circa1925Oil on canvas130 x 81 cm (51 1/8 x 31 7/8 in)(Groupe de quatre nus)Germain Bazin commented on this painting: "I know of no other work so akin to 'Turkish Bath' by Ingres than this group of nudes, where every inch of canvas is devoted to flesh. One even recognizes the 'gorge de pigeon' (pigeon neck) shimmer of the 'Turkish Bath', which seems, here, to emit an undefinable, romantic cooing. Lempicka's lines are Ingres-like in their sensualism, as are her contours and colors."Collections1970 - Private collection - Great Britain
1993 - Pruskin Gallery - Great Britain
1994 - 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, JapanAuctions08/05/1991 - NEW YORK. Christie's “Elliot”, # 21 $ 0 -
Two Women with Cloches
B.065circa1925Oil on wood panel32 x 40 cm (12 5/8 x 15 3/4 in)DE LEMPICKA. (top left)(Deux femmes aux chapeaux cloche)A double portrait, in which the profile of the figure to the left matches the "Portrait of Romana de la Salle"(B.99). The city portrayed in the background, gives the psychological measure of the liberated woman couple.Collections1995 - Private collection - JapanAuctions10/05/1995 - NEW YORK. Sotheby's "6699 Ambrose", # 288 A $ 76 750 -
Two Little Girls with Ribbons
B.0661925Oil on canvas100 x 73 cm (39 3/8 x 28 3/4 in)DE LEMPICKA. (bottom left)(Les deux fillettes aux rubans)In this work, the artist has very accurately captured the impatience of a little girl nailed to a big armchair (the same as the one used in "Portrait of a Man in a Club Chair", B. 27)Collections1925 - Purchased directly by Mr. Sierpski - France
1992 - Collection of George and Vivian Dean - U.S.A.Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, JapanAuctions11/11/1992 - NEW YORK. Sotheby's “Picador”, # 225 $ 135 000
28/02/1982 - circa AILLES. G. Blache. Hôtel Rameau, # ? $ 28 600 -
Portrait of Baroness Renata Treves
B.0671925Oil on canvas100 x 70 cm (39 3/8 x 27 1/2 in)T. DE LEMPITZKA. (bottom left)(Portrait de la Baronne Renata Treves *)Baron Treves, the husband of this patron of the arts, was Gabriele D'Annunzio's official publisher. Of a different size than the standard French formats, this portrait must have been created in Italy.Collections1972 - Galerie du Luxembourg - France
1978 - Private collection - U.S.A.
1989 - Barry Friedman Ltd. - U.S.A.Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1926 - Salon des Indépendants 1926, Paris, France
1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1975 - Scottish Art Council, "Fashion 1900-1939", Edimburgh-London, Great Britain
1992 - The National Museum of Women in the Art, "Polish Women Artists and Avant-Garde/Voices of Freedom", Washington, United States
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
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, JapanHistoryBaroness TREVES, Portrait retained by Lempicka: Renata Treves de Bonfili Fontana (1892-1965) was a key figure in the between-the-wars Milanese society circles. She held a "salon" welcoming visiting intellectuals and artists. In 1972, her portrait still had not left the studio, an ocirca ight perhaps connected to the fiasco that had cut short a would-be affair between Lempicka and Baron Giuseppe Treves's good friend Gabriele D'Annunzio.Auctions10/05/1989 - NEW YORK. Sotheby's “5850-Ripipoint”, # 380 $ 150 000
12/11/1987 - NEW YORK. Sotheby's “5633-Tzanck”, # 380 $ 0 -
Head of Slavic Woman
B.068circa1925Oil on canvas46 x 38 cm (18 1/8 x 15 in)T.DE LEMPICKA. (top left)(Tête de femme slave)Here again, Lempicka was drawn to the manly charms of this sort of strongly structured face.Collections1972 - Private collection - FranceExhibitions1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan -
Portrait of André Gide
B.069circa1925Oil on cardboard50 x 35 cm (19 5/8 x 13 3/4 in)T.DE LEMPICKA. (artist's stamp top right)(Portrait d'André Gide)Gide - presented here as a tortured figure - has been divested of his glasses, and provided instead with empty, black eyes (which is a sculptural technique). In his preface to the 1994 Exhibition of Rome catalog, Maurizio Calvesi writes: "The torment exuded by this face is achieved - in almost epic dimension - by the use of broken planes, and post-Cubist cutting up into facets, as an expressive, or rather, Expressionist, means. The brush sculpts, making the facial features look like they were vigorously carved with a chisel."Collections1980 - Galerie du Luxembourg - France
1984 - Private collection - U.S.A.Exhibitions1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, JapanHistoryAndré GIDE, Client: In the year he had this portrait done (1925), André Gide (1869-1951) was fifty-six. Gide enjoyed sitting for portraits, and had served as model for, among others, Paul-Albert Laurens and Jacques-Emile Blanche. André Lhote did a very conventional likeness of him in red chalk (Daniel Offret Auction Sale, Drouot, 9 July 1987). It may have been through Lhote that the young Lempicka met this between-the-wars period literary giant.Auctions01/02/1980 - PARIS. Ader, Picard, Tajan. Drouot RG., # 182 $ 2 954 -
Portrait of Prince Eristoff
B.0701925Oil on canvas65 x 92 cm (25 5/8 x 36 1/4 in)T. DE LEMPITZKI (bottom right)(Portrait du Prince Eristoff *)An Italian city, which could very well be Florence, can be seen behind the drapery. In the same manner as the artists of the Quattrocento, Lempicka thus complements her portrait of this person by providing additional information on the sitter's idealized surroundings.Collections1972 - Galerie du Luxembourg - France
1983 - Barry Friedman Ltd. - U.S.A.
1984 - Private collection - U.S.A.Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
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
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, JapanHistoryPrince ERISTOFF, Portrait retained by Lempicka: Prince Eristoff was descended from a very old (Transcaucasian) Georgia family. Nonetheless, judging from his portrait, he had adopted the British style as his own. This is another portrait that remained in Lempicka's studio. -
Portrait of marquis d’Afflito
B.0711925Oil on canvas81 x 130 cm (31 7/8 x 51 1/8 in)T.DE LEMPITZKI. 1925 (bottom right)(Portrait du marquis d’Afflito *)The Roman pose the Marquis has struck here combines informality and elegance. The contact (bound to be somewhat humid) between the lush vegetation and the delicate tuxedo material effectively heightens the impact of this, otherwise somewhat commonplace, subject.Collections1968 - Private collection - Switzerland
1972 - Galerie du Luxembourg - France
1973 - Private collection - France
1980 - Private collection - U.S.A.
1983 - Barry Friedman Ltd. - U.S.A.
1990 - Private collection - ItalyExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
1984 - Hollywood American Legion Post, "Tamara", Los Angeles, United States
1992 - The National Museum of Women in the Art, "Polish Women Artists and Avant-Garde/Voices of Freedom", Washington, United StatesHistory1925, Chronology: De Lempicka won public acclaim for her one-woman show at the Bottega di Poesia in Milan, organised by Count Emmanuele di Castelbarco. During a prolonged stay in the city she made the acqaintance of a number of italian aristocrats with influence in the art world.
Marquis D'AFFLITO, Portrait retained by Lempicka: Two portraits of Marquis D'Afflito had remained in Lempicka's studio: they may have been portraits of the two brothers. In effect, that is what the biography written by her daughter implies: "...When she (Tamara) dined in town with the D'Afflito brothers." Inseparable in real life, they remained so in Lempicka's depiction of them. -
Portrait of the Duchess of La Salle
B.0721925Oil on canvas162 x 97 cm (63 3/4 x 38 1/4 in)T.DE LEMPICKA. (top right)(Portrait de la Duchesse de La Salle *)This portrait underscores this horsewoman's domineering effect by planting her on a staircase carpeted in red. The setting, constituted by a column and a theatrically imposing drape, seems more like an entranceway to a nightclub or any other night spot than the hallway of a ducal residence. The yellow windows of the lopsided houses throw light onto the winding roads, in a fashion reminiscent of films by Murnau.Collections1967 - Private collection - France
1988 - Barry Friedman Ltd. - U.S.A.
1991 - Private collection - GermanyExhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
1926 - Salon d'Automne 1926, Paris, France
1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1976 - Musée des Arts Décoratifs, "Paris 1925", Paris, France
1977 - Nationalgalerie, "Tendenzen der Zwanziger Jahre", Berlin, Germany
1978 - Hayward Gallery, "Neue Sachlichkeit and German Realism of the 20s", London, Great Britain
1980 - Musée des Arts Décoratifs 1980, "La famille des portraits", Paris, France
1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
1986 - Neuer Berliner Kunstverein, "Androgyn", Berlin, Germany
1989 - Museo Nacional de Arte, "Tamara de Lempicka", Mexico, Mexico
1991 - Musée des Beaux-Arts de Montréal, "Les années 20, l'âge des métropoles", Montréal, Canada
1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, ItalyHistoryDuchess DE LA SALLE, Portrait retained by Lempicka: Born in Athens in 1887, with Marika as her first name, the duchess owes her title to her marriage, in 1905, to Duke de la Salle de Rochemaure. This marriage was not to the liking of the family and thus ended in divorce, earning the duchess a sizeable alimony. Done up tightly in her riding attire, smoking a pipe or a cigar, the duchess - who continued to pride herself over her title - was most lavish with her newfound fortune, much of which she allotted to several artists encountered on social occasions (such as the English woman artist Marlow Moss). By the thirties, once her source of income had run dry, she withdrew, with her daughter Romana, to an Alpine village where she lived the simple life until her death in 1973. As can be seen in the panoramic view by Jacques-Henri Lartigue (see "Jacques-Henri LARTIGUE"), the large portrait of the duchess in her riding boots hung to the right of the bed in Lempicka's bedroom in her flat on rue Guy de Maupassant.Auctions12/11/1988 - NEW YORK. Sotheby's “5777-Merma”, # 404 $ 0 -
Leaning Nude I
B.0731925Oil on canvasT.DE LEMPITZKY (bottom right)(Nu adossé I)All trace has been lost of this painting, which appears on a photo taken during the Milan Exhibition of 1925.Collections1925 - Unknown collection -Exhibitions1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy -
Leaning Nude II
B.074circa1926Oil on canvas33 x 19 cm (13 x 7 1/2 in)DE LEMPICKA. (bottom right)(Nu adossé II)This painting is a variant of the preceding one.Collections1987 - Private collection - FranceAuctions20/12/1983 - PARIS. Deurbergue, # 39 $ 23 750
06/12/1987 - MONACO. Christie's “Emile”, # 14 $ 33 400 -
Woman Lying on the Grass
B.075circa1926Oil on canvas52,5 x 152 cm (20 5/8 x 59 7/8 in)T.DE LEMPICKA. (artist's stamp bottom left)(Femme allongée dans l'herbe)The model for this painting may be the same as the one who sat for "The Musician".CollectionsPrivate collection - U.S.A.Exhibitions1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1981 - Walter Haas: Art Déco, le Style Moderne, Zürich, Switzerland -
Card Players
B.076circa1926Oil on canvas35 x 27 cm (13 3/4 x 10 5/8 in)(Joueuses de cartes)Lempicka increasingly tautened the composition of her works, compressing the subject matter into the narrow confines of the canvas, and thus bringing the depiction ever more intensely alive.Collections1972 - Private collection - France
1975 - Stolen painting - FranceExhibitions1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France -
Portrait of His Imperial Highness Grand Duke Gabriel
B.077circa1926Oil on canvas116 x 65 cm (45 5/8 x 25 5/8 in)(Portrait de S.A.I. le grand duc Gabriel *)The archetypical exiled prince seeking to delude himself by once more donning - for the duration of the sitting - his richly brocaded and derisory finery. His face frozen into a stiff mask, his squinting eyes hardly conceal his vaguely helpless state. Contrasting with his pale and emaciated face, his fat red lips are somehow disturbing.Collections1981 - Private collection - U.S.A.Exhibitions1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1975 - The Gallery Stratford, "Art Déco 1925-1935", Stratford, Canada
1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, ItalyHistoryGreat duke Gabriel CONSTANTINOVITCH, Portrait retained by Lempicka: Grand Duke Gabriel Constantinovitch (Pavlosk, 1887 - Paris, 1955) was the son of the Duchess of Saxony, and the great grandson of Czar Nicholas I. A regimental lieutenant in the Hussar Guards, he became aide de camp to Nicholas II in 1910, and was a Knight of the Order of Saint André. According to Gioia Mori, "Grand Duke C. had been the president of the Saint Petersburg Academy of Fine Arts, which Tamara may have attended during her stay from 1914 to 1918..." His somewhat distraught countenance can be explained in the light of all the snubs he endured at the time of the Revolution (see the moving account by Gioia Mori, Tamara de Lempicka, Paris 1920-1938. op.cit. pp. 65-69). Actually, the haughty pride conveyed by his portrait is at variance with what we know of this pleasant and courteous figure, who published (in Russian, in New York) his memoirs under the title Dans un palais de marbre (In a Marble Palace). The portrait Lempicka did of him had remained in her studio. -
Portrait of the Marquis of Afflito (on the staircase)
B.0781926Oil on canvas116 x 73 cm (45 5/8 x 28 3/4 in)DE LEMPICKA (top right)(Portrait du marquis d’Afflito à l’escalier)From one portrait to the next, the Marquis never abandons his bow tie. Here he also wears an artfully tilted felt hat. The strong presence of eye-catching symbolic accessories links Lempicka to the great poster artists of her period.Collections1972 - Galerie du Luxembourg - France
1973 - Private collection - U.S.A.
1994 - Barry Friedman Ltd. - U.S.A.
1997 - Private collection - U.S.A.Exhibitions1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
1975 - The Gallery Stratford, "Art Déco 1925-1935", Stratford, Canada
1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
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
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, JapanHistory1925, Chronology: De Lempicka won public acclaim for her one-woman show at the Bottega di Poesia in Milan, organised by Count Emmanuele di Castelbarco. During a prolonged stay in the city she made the acqaintance of a number of italian aristocrats with influence in the art world.
Marquis D'AFFLITO, Portrait retained by Lempicka: Two portraits of Marquis D'Afflito had remained in Lempicka's studio: they may have been portraits of the two brothers. In effect, that is what the biography written by her daughter implies: "...When she (Tamara) dined in town with the D'Afflito brothers." Inseparable in real life, they remained so in Lempicka's depiction of them. -
Abstract Composition
B.079circa1926Oil on canvas35 x 27 cm (13 3/4 x 10 5/8 in)T.DE LEMPICKA. (artist's stamp top right)(Composition abstraite)Abstraction intrigued Lempicka from early on, and she resorted to it periodically in stylistic exercises of this sort.Collections1988 - Private collection - FranceAuctions15/06/1988 - PARIS. Charbonneaux., # ? $ 15 833 -
Abstract Composition
B.080circa1926Oil on canvas35 x 27 cm (13 3/4 x 10 5/8 in)(Composition abstraite)Collections1980 - Lempicka Estate - U.S.A. -
Kizette in Pink
B.081circa1926Oil on canvas116 x 73 cm (45 5/8 x 28 3/4 in)(Kizette en rose *)The studious little girl depicted here is dressed for summer, in an immaculately white (at the most, a faintly pink tinge justifies the work's title) dress. She has lost one shoe and, in very gracious fashion, she conceals her unshod foot. The position of her legs may be inspired by a famous Russian icon, "The Virgin of Tikhvin", where Baby Jesus, also holding a book, crosses his legs in like manner. The background is similar to the one in the artist's portrait of Arlette Boucard.Collections1928 - Musée des Beaux-Arts de Nantes - FranceExhibitions1928 - Musée des Beaux-Arts de Nantes, "Salon", Nantes, France
1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, JapanHistoryThe 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.
Her Daughter KIZETTE, Family or close friend: Lempicka gave birth to her daughter at a very young age. Quite early on, she used Kizette as a model, painting her through a marvelling eye. The five large-scale portraits she did of Kizette, between 1923 and 1933, remain among the most noteworthy of her artistic accomplishments. Baroness de Lempicka-Foxhall, as Kizette has now become, gathered together her recollections and, with the help of Charles Phillips, published them in the form of a biography in 1987: Passion by Design, The Art and Times of Tamara de Lempicka, op.cit.
