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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.
hide all paintings
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spacerStudy for
Study for "Sharing Secrets"
spacerAt the Café, around the Table
At the Café, around the Table
spacerAt the Tearoom
At the Tearoom
spacerTearoom
Tearoom
spacerTearoom
Tearoom
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spacerStudy for
Study for "Two Nudes in Perspective"
spacerStudy after...
Study after...
spacerStudy after...
Study after...
spacerStudy after...
Study after...
spacerStudy after...
Study after...
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spacerGirls Bathing
Girls Bathing
spacerGirls Bathing
Girls Bathing
spacerEcho
Echo
spacerThe Chain
The Chain
spacerLocirca  and Columns
Locirca and Columns
spacer
spacerNymphs
Nymphs
spacerRearing Horses
Rearing Horses
spacerStampede
Stampede
spacerHorse Study
Horse Study
spacerSeated Nude
Seated Nude
spacer
spacerSketch. Reclining Nude I
Sketch. Reclining Nude I
spacerSketch. Reclining Nude II
Sketch. Reclining Nude II
spacerSketch. Reclining Nude III
Sketch. Reclining Nude III
spacerSketch. Seated Nude I
Sketch. Seated Nude I
spacerSketch. Seated Nude II
Sketch. Seated Nude II
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spacerNude with Weight on One Leg I
Nude with Weight on One Leg I
spacerNude with Weight on One Leg II
Nude with Weight on One Leg II
spacerStudy for
Study for "Reclining Nude with Book"
spacerStudy for
Study for "La Belle Rafaëla"
spacerOn the beach
On the beach
spacer
spacerStanding Nude, One Arm over Her Head
Standing Nude, One Arm over Her Head
spacerNude from Behind
Nude from Behind
spacerSeated Nude, from Behind
Seated Nude, from Behind
spacerSeated Nude
Seated Nude
spacerSeated Nude
Seated Nude
spacer
spacerReclining Nude
Reclining Nude
spacerNude Seated on a Stool
Nude Seated on a Stool
spacerNude
Nude
spacerStanding Nude Leaning on Her Elbows
Standing Nude Leaning on Her Elbows
spacerSeated Nude, Frontal View
Seated Nude, Frontal View
spacer
spacerSeated Woman with Turtleneck
Seated Woman with Turtleneck
spacerYoung Lady Looking at an Album
Young Lady Looking at an Album
spacerStudy for a Portrait
Study for a Portrait
spacerUrchin with Her Legs Crossed
Urchin with Her Legs Crossed
spacerPortrait of a Young Lady with a Cloche
Portrait of a Young Lady with a Cloche
spacer
spacerStanding Young Lady
Standing Young Lady
spacerSeated Woman
Seated Woman
spacerDo Come to la Coupole
Do Come to la Coupole
spacerItalian Town
Italian Town
spacerItalian Village
Italian Village
spacer
spacerThe Railroad Bridge
The Railroad Bridge
spacerAmore e Musica
Amore e Musica
spacerBridge at 4 PM
Bridge at 4 PM
spacerLa buona Notizia
La buona Notizia
spacerPortrait of Marquis Sommi
Portrait of Marquis Sommi
spacer
spacerPortrait of Guido Sommi
Portrait of Guido Sommi
spacerIrene and Her Sister
Irene and Her Sister
spacerNude on a Terrace
Nude on a Terrace
spacerTwo Nudes in Perspective
Two Nudes in Perspective
spacerSeated Nude
Seated Nude
spacer
spacerSeated Woman
Seated Woman
spacerSeated Nude
Seated Nude
spacerThe Model
The Model
spacerGroup of Four Nudes
Group of Four Nudes
spacerTwo Women with Cloches
Two Women with Cloches
spacer
spacerTwo Little Girls with Ribbons
Two Little Girls with Ribbons
spacerPortrait of Baroness Renata Treves
Portrait of Baroness Renata Treves
spacerHead of Slavic Woman
Head of Slavic Woman
spacerPortrait of André Gide
Portrait of André Gide
spacerPortrait of Prince Eristoff
Portrait of Prince Eristoff
spacer
spacerPortrait of marquis d’Afflito
Portrait of marquis d’Afflito
spacerPortrait of the Duchess of La Salle
Portrait of the Duchess of La Salle
spacerLeaning Nude I
Leaning Nude I
spacerLeaning Nude II
Leaning Nude II
spacerWoman Lying on the Grass
Woman Lying on the Grass
spacer
spacerCard Players
Card Players
spacerPortrait of His Imperial Highness Grand Duke Gabriel
Portrait of His Imperial Highness Grand Duke Gabriel
spacerPortrait of the Marquis of Afflito (on the staircase)
Portrait of the Marquis of Afflito (on the staircase)
spacerAbstract Composition
Abstract Composition
spacerAbstract Composition
Abstract Composition
spacer
spacerKizette in Pink
Kizette in Pink
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  • Study for
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    Study for "Sharing Secrets"

    A.049
    circa1925
    Crayon on paper
    7,6 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.94
    Collections
    1972 - Private collection - France
  • At the Café, around the Table
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    At the Café, around the Table

    A.050
    circa1925
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    LEMPICKA. (artist's stamp bottom right)
    (Au café, autour de la table)
    Collections
    1980 - Private collection - France
  • At the Tearoom
    enlarge

    At the Tearoom

    A.051
    circa1925
    Crayon on paper
    7,6 x 5,5 cm (3 x 2 1/8 in) 
    (Au salon de thé)
    on the back, study for"les confidences"
    Collections
    1972 - Private collection - France
  • Tearoom
    enlarge

    Tearoom

    A.052
    circa1925
    Crayon on paper
    10,9 x 8,2 cm (4 1/4 x 3 1/4 in) 
    (Salon de thé)
    Auctions
    13/05/1987 - NEW YORK. Phillips "662", # 44 $ 1 800
  • Tearoom
    enlarge

    Tearoom

    A.053
    circa1925
    Crayon on paper
    10,8 x 8,3 cm (4 1/4 x 3 1/4 in) 
    (Salon de thé)
    Auctions
    13/05/1987 - NEW YORK. Phillips "662", # 43 $ 1 500
  • Study for
    enlarge

    Study for "Two Nudes in Perspective"

    A.054
    circa1925
    Crayon on paper
    11,3 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.59
    Collections
    1972 - Private collection - France
  • Study after...
    enlarge

    Study after...

    A.055
    circa1925
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    (Etude d'après...)
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Study after...
    enlarge

    Study after...

    A.056
    circa1925
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    LEMPICKA. (artist's stamp bottom left)
    (Etude d'après...)
    Collections
    1972 - Private collection - France
  • Study after...
    enlarge

    Study after...

    A.057
    circa1925
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    LEMPICKA. (artist's stamp bottom left)
    (Etude d'après...)
    Collections
    1972 - Private collection - France
  • Study after...
    enlarge

    Study after...

    A.058
    circa1925
    Crayon on paper
    11,3 x 8,7 cm (4 1/2 x 3 3/8 in) 
    LEMPICKA. (artist's stamp bottom right)
    (Etude d'après...)
    Collections
    1972 - Private collection - France
  • Girls Bathing
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    Girls Bathing

    A.059
    circa1925
    Crayon on paper
    54,5 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.
    Auctions
    21/06/1988 - PARIS. Briest, # 154 $ 2 350
  • Girls Bathing
    enlarge

    Girls Bathing

    A.060
    circa1925
    Crayon on paper
    40 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.
    Auctions
    21/06/1988 - PARIS. Briest, # 146 $ 2 170
  • Echo
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    Echo

    A.061
    circa1925
    Crayon on paper
    40 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.
    Auctions
    21/06/1988 - PARIS. Briest, # 174 $ 2 170
  • The Chain
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    The Chain

    A.062
    circa1925
    Crayon on paper
    40 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.
    Auctions
    21/06/1988 - PARIS. Briest, # 164 $ 1 670
  • Locirca  and Columns
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    Locirca and Columns

    A.063
    circa1925
    Crayon on paper
    40 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.
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Nymphs
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    Nymphs

    A.064
    circa1925
    Crayon on paper
    40 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.
    Collections
    21/06/1988 - PARIS. Briest, # 141 $ 2 170
  • Rearing Horses
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    Rearing Horses

    A.065
    circa1925
    Crayon on paper
    40 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.
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Stampede
    enlarge

    Stampede

    A.066
    circa1925
    T.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
    enlarge

    Horse Study

    A.067
    circa1925
    Crayon on paper
    30,5 x 23 cm (12 x 9 in) 
    Lempicka (bottom right)
    (Etude de cheval)
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Seated Nude
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    Seated Nude

    A.068
    circa1925
    Crayon on paper
    18,5 x 27,5 cm (7 1/4 x 10 7/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Nu assis)
    Auctions
    21/06/1988 - PARIS. Briest, # 145 $ 2 250
  • Sketch. Reclining Nude I
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    Sketch. Reclining Nude I

    A.069
    circa1925
    Crayon and charcoal heightennings on paper
    28 x 44 cm (11 x 17 3/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Croquis. Nu allongé I)
    Auctions
    21/06/1988 - PARIS. Briest, # 170 $ 3 330
  • Sketch. Reclining Nude II
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    Sketch. Reclining Nude II

    A.070
    circa1925
    Crayon and charcoal heightennings on paper
    28 x 44 cm (11 x 17 3/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Croquis. Nu allongé II)
    Auctions
    21/06/1988 - PARIS. Briest, # 150 $ 3 170
  • Sketch. Reclining Nude III
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    Sketch. Reclining Nude III

    A.071
    circa1925
    Charcoal on paper
    28 x 44 cm (11 x 17 3/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Croquis. Nu allongé III)
    Auctions
    21/06/1988 - PARIS. Briest, # 172 $ 6 500
  • Sketch. Seated Nude I
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    Sketch. Seated Nude I

    A.072
    circa1925
    Crayon on paper
    44 x 28 cm (17 3/8 x 11 in) 
    T.DE LEMPICKA. (artist's stamp bottom left)
    (Croquis. Nu assis I)
    Collections
    1994 - Private collection - France
  • Sketch. Seated Nude II
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    Sketch. Seated Nude II

    A.073
    circa1925
    Red chalk on paper
    44 x 28 cm (17 3/8 x 11 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Croquis. Nu assis II)
    Auctions
    19/11/1992 - NEW YORK. Sotheby's “6365-Fried”, # 172 $ 0
  • Nude with Weight on One Leg I
    enlarge

    Nude with Weight on One Leg I

    A.074
    circa1925
    Crayon and charcoal heightennings on paper
    44 x 28 cm (17 3/8 x 11 in) 
    T.DE LEMPICKA (artist's stamp bottom left)
    (Croquis. Nu déhanché I)
    Auctions
    21/06/1988 - PARIS. Briest, # 177 $ 4 000
  • Nude with Weight on One Leg II
    enlarge

    Nude with Weight on One Leg II

    A.075
    circa1925
    Crayon and charcoal heightennings on paper
    44 x 28 cm (17 3/8 x 11 in) 
    (Croquis. Nu déhanché II)
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Study for
    enlarge

    Study for "Reclining Nude with Book"

    A.076
    circa1926
    Crayon on paper
    8,7 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.
    Auctions
    22/11/1989 - PARIS. Ader, # 99 $ 1 700
  • Study for
    enlarge

    Study for "La Belle Rafaëla"

    A.077
    circa1926
    Crayon on paper
    11,3 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.
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
    History
    La 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
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    On the beach

    A.078
    circa1926
    Crayon on paper
    8,7 x 11,3 cm (3 3/8 x 4 1/2 in) 
    LEMPICKA. (artist's stamp bottom right)
    (Sur la plage)
    Collections
    1972 - Private collection - France
  • Standing Nude, One Arm over Her Head
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    Standing Nude, One Arm over Her Head

    A.079
    circa1926
    Crayon on paper
    T.de Lempicka (bottom right)
    (Nu debout, un bras sur la tête)
  • Nude from Behind
    enlarge

    Nude from Behind

    A.080
    circa1926
    Crayon on paper
    23,6 x 14,2 cm (9 1/4 x 5 5/8 in) 
    T. de Lempicka (bottom left)
    (Nu de dos)
    Collections
    1990 - Collection of Dr. and Mrs. Richard Hirsc - U.S.A.
  • Seated Nude, from Behind
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    Seated Nude, from Behind

    A.081
    circa1926
    Crayon on paper
    13 x 22,5 cm (5 1/8 x 8 7/8 in) 
    T.de Lempicka (bottom right)
    (Nu assis, de dos)
    Collections
    1992 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Seated Nude
    enlarge

    Seated Nude

    A.082
    circa1926
    Crayon on paper
    15,3 x 23,5 cm (6 x 9 1/4 in) 
    de Lempicka (bottom right)
    (Nu assis)
    Auctions
    13/02/1986 - NEW YORK. Christie's “Christine-6084”, # 109 $ 3 200
  • Seated Nude
    enlarge

    Seated Nude

    A.083
    circa1926
    Crayon on paper
    de Lempicka (bottom right)
    (Nu assis)
  • Reclining Nude
    enlarge

    Reclining Nude

    A.084
    circa1926
    Crayon on paper
    17,5 x 29 cm (6 7/8 x 11 3/8 in) 
    de Lempicka (bottom left)
    (Nu allongé)
    Auctions
    05/05/1986 - PARIS. Renaud, # ? $ 1 140
  • Nude Seated on a Stool
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    Nude Seated on a Stool

    A.085
    circa1926
    Crayon on paper
    19,5 x 13,5 cm (7 5/8 x 5 3/8 in) 
    (Nu assis sur un tabouret)
  • Nude
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    Nude

    A.086
    circa1926
    Crayon on paper
    19,5 x 13,5 cm (7 5/8 x 5 3/8 in) 
    (Nu)
  • Standing Nude Leaning on Her Elbows
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    Standing Nude Leaning on Her Elbows

    A.087
    circa1926
    Crayon on paper
    23 x 12 cm (9 x 4 3/4 in) 
    (Nu debout accoudé)
  • Seated Nude, Frontal View
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    Seated Nude, Frontal View

    A.088
    circa1926
    Crayon on paper
    23 x 12 cm (9 x 4 3/4 in) 
    (Nu assis, de face)
  • Seated Woman with Turtleneck
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    Seated Woman with Turtleneck

    A.089
    circa1926
    Crayon on paper
    27 x 21 cm (10 5/8 x 8 1/4 in) 
    T.DE LEMPICKA. (artist's stamp bottom center)
    (Femme assise au col roulé)
    Collections
    1989 - Collection of Anna Gardner Luce - U.S.A.
  • Young Lady Looking at an Album
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    Young Lady Looking at an Album

    A.090
    circa1926
    Crayon on paper
    21,5 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)
    Collections
    1972 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Study for a Portrait
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    Study for a Portrait

    A.091
    circa1926
    Crayon on paper
    16 x 10,5 cm (6 1/4 x 4 1/8 in) 
    LEMPICKA. (artist's stamp bottom right)
    (Etude pour un portrait)
    Collections
    1972 - Private collection - France
  • Urchin with Her Legs Crossed
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    Urchin with Her Legs Crossed

    A.092
    circa1926
    Crayon on paper
    16 x 12 cm (6 1/4 x 4 3/4 in) 
    (Garçonne, les jambes croisées)
  • Portrait of a Young Lady with a Cloche
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    Portrait of a Young Lady with a Cloche

    A.093
    circa1926
    Crayon on paper
    16,5 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)
    Collections
    1972 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Standing Young Lady
    enlarge

    Standing Young Lady

    A.094
    circa1926
    Crayon on paper
    23,6 x 14,2 cm (9 1/4 x 5 5/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Jeune femme debout)
    Collections
    1970 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Seated Woman
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    Seated Woman

    A.095
    circa1926
    Crayon on paper
    23,6 x 14,2 cm (9 1/4 x 5 5/8 in) 
    T. de Lempicka. (bottom left)
    (Femme assise)
    Collections
    1972 - Private collection - France
  • Do Come to la Coupole
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    Do Come to la Coupole

    A.096
    circa1926
    Crayon on paper
    15,3 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.
    Collections
    Private collection - France
  • Italian Town
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    Italian Town

    A.097
    circa1926
    Crayon on paper
    13 x 10 cm (5 1/8 x 3 7/8 in) 
    LEMPICKA (artist's stamp bottom right)
    (Ville italienne)
    Collections
    1972 - Private collection - France
  • Italian Village
    enlarge

    Italian Village

    A.098
    circa1926
    Crayon on paper
    15,8 x 8,9 cm (6 1/4 x 3 1/2 in) 
    T.de Lempicka (top right)
    (Village italien)
    Collections
    1972 - Private collection - France
  • The Railroad Bridge
    enlarge

    The Railroad Bridge

    A.099
    circa1926
    Crayon on paper
    11,9 x 9,8 cm (4 5/8 x 3 7/8 in) 
    sight (Le pont de Chemin de fer)
  • Amore e Musica
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    Amore e Musica

    B.052
    circa1925
    Oil on canvas
    (Amore e Musica * )
    An unidentified work, described in the catalog as a "monochrome".
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
  • Bridge at 4 PM
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    Bridge at 4 PM

    B.053
    circa1925
    Oil on canvas
    (Bridge à 16 heures *)
    An unidentified work.
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
  • La buona Notizia
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    La buona Notizia

    B.054
    circa1925
    Oil on canvas
    (La buona Notizia *)
    An unidentified work.
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
  • Portrait of Marquis Sommi
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    Portrait of Marquis Sommi

    B.055
    1925
    Oil on canvas
    100 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.
    Collections
    1968 - Private collection - Switzerland
    1979 - Barry Friedman Ltd. - U.S.A.
    1980 - Private collection - U.S.A.
    Exhibitions
    1972 - 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, Italy
    History
    1925, 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.
    Auctions
    13/10/1977 - PARIS. Ader, Picard, Tajan. Drouot RG, # 201 $ 5 957
    06/12/1975 - PARIS. Loudmer, Poulain (Palais Galliera), # 93 $ 3 068
  • Portrait of Guido Sommi
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    Portrait of Guido Sommi

    B.056
    1925
    Oil on canvas
    116 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.
    Collections
    1969 - Galerie du Luxembourg - France
    1970 - Private collection - France
    History
    1925, 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
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    Irene and Her Sister

    B.057
    1925
    Oil on canvas
    146 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.
    Collections
    1983 - Private collection - Switzerland
    1985 - Barry Friedman Ltd. - U.S.A.
    1994 - Irena Hochman Fine Art Ltd - U.S.A.
    Exhibitions
    1925 - 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, Japan
    History
    Irene 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
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    Nude on a Terrace

    B.058
    1925
    Oil on canvas
    38 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.
    Collections
    1990 - Private collection - Germany
    1991 - Private collection - Germany
    Auctions
    27/05/1991 - MÜNCHEN. Ketterer, # 75 $ 0
  • Two Nudes in Perspective
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    Two Nudes in Perspective

    B.059
    circa1925
    Oil on canvas
    55 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.
    Collections
    1989 - Private collection - France
    1990 - Collection of G. Lahaussois - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Seated Nude
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    Seated Nude

    B.060
    circa1925
    Oil on canvas
    61 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.
    Collections
    1991 - Private collection - Switzerland
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    Auctions
    22/06/1988 - PARIS. Ader, Picard, Tajan. Hôtel G. V, # 99 $ 83 300
    26/07/1991 - DIVONNE-LES-BAINS. Kohn. Casino , # 152 $ 107 500
  • Seated Woman
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    Seated Woman

    B.061
    circa1925
    Oil on canvas
    55 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.
    Collections
    1997 - Barry Friedman Ltd. - U.S.A.
    Exhibitions
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    Auctions
    13/06/1980 - NEW YORK. Sotheby's “4395”, # 469 $ 7 500
    06/06/1992 - LYON. J-C Anaf, # 233 $ 0
  • Seated Nude
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    Seated Nude

    B.062
    1925
    Oil on canvas
    61 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.
    Collections
    1980 - Private collection - U.S.A.
    1983 - Barry Friedman Ltd. - U.S.A.
    1985 - Private collection - U.S.A.
    Exhibitions
    1925 - 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 States
    Auctions
    01/10/1983 - NEW YORK. Christie's “Breuer-5404", # 156 $ 0
  • The Model
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    The Model

    B.063
    1925
    Oil on canvas
    116 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.
    Collections
    1968 - Private collection - Switzerland
    1980 - Private collection - U.S.A.
    1996 - Barry Friedman Ltd. - U.S.A.
    Exhibitions
    1925 - 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
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    Group of Four Nudes

    B.064
    circa1925
    Oil on canvas
    130 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."
    Collections
    1970 - Private collection - Great Britain
    1993 - Pruskin Gallery - Great Britain
    1994 - 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
    Auctions
    08/05/1991 - NEW YORK. Christie's “Elliot”, # 21 $ 0
  • Two Women with Cloches
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    Two Women with Cloches

    B.065
    circa1925
    Oil on wood panel
    32 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.
    Collections
    1995 - Private collection - Japan
    Auctions
    10/05/1995 - NEW YORK. Sotheby's "6699 Ambrose", # 288 A $ 76 750
  • Two Little Girls with Ribbons
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    Two Little Girls with Ribbons

    B.066
    1925
    Oil on canvas
    100 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)
    Collections
    1925 - Purchased directly by Mr. Sierpski - France
    1992 - Collection of George and Vivian Dean - U.S.A.
    Exhibitions
    1925 - 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, Japan
    Auctions
    11/11/1992 - NEW YORK. Sotheby's “Picador”, # 225 $ 135 000
    28/02/1982 - circa AILLES. G. Blache. Hôtel Rameau, # ? $ 28 600
  • Portrait of Baroness Renata Treves
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    Portrait of Baroness Renata Treves

    B.067
    1925
    Oil on canvas
    100 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.
    Collections
    1972 - Galerie du Luxembourg - France
    1978 - Private collection - U.S.A.
    1989 - Barry Friedman Ltd. - U.S.A.
    Exhibitions
    1925 - 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, Japan
    History
    Baroness 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.
    Auctions
    10/05/1989 - NEW YORK. Sotheby's “5850-Ripipoint”, # 380 $ 150 000
    12/11/1987 - NEW YORK. Sotheby's “5633-Tzanck”, # 380 $ 0
  • Head of Slavic Woman
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    Head of Slavic Woman

    B.068
    circa1925
    Oil on canvas
    46 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.
    Collections
    1972 - Private collection - France
    Exhibitions
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
  • Portrait of André Gide
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    Portrait of André Gide

    B.069
    circa1925
    Oil on cardboard
    50 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."
    Collections
    1980 - Galerie du Luxembourg - France
    1984 - Private collection - U.S.A.
    Exhibitions
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    History
    André 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.
    Auctions
    01/02/1980 - PARIS. Ader, Picard, Tajan. Drouot RG., # 182 $ 2 954
  • Portrait of Prince Eristoff
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    Portrait of Prince Eristoff

    B.070
    1925
    Oil on canvas
    65 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.
    Collections
    1972 - Galerie du Luxembourg - France
    1983 - Barry Friedman Ltd. - U.S.A.
    1984 - Private collection - U.S.A.
    Exhibitions
    1925 - 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, Japan
    History
    Prince 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
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    Portrait of marquis d’Afflito

    B.071
    1925
    Oil on canvas
    81 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.
    Collections
    1968 - 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 - Italy
    Exhibitions
    1925 - 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 States
    History
    1925, 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
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    Portrait of the Duchess of La Salle

    B.072
    1925
    Oil on canvas
    162 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.
    Collections
    1967 - Private collection - France
    1988 - Barry Friedman Ltd. - U.S.A.
    1991 - Private collection - Germany
    Exhibitions
    1925 - 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, Italy
    History
    Duchess 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.
    Auctions
    12/11/1988 - NEW YORK. Sotheby's “5777-Merma”, # 404 $ 0
  • Leaning Nude I
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    Leaning Nude I

    B.073
    1925
    Oil on canvas
    T.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.
    Collections
    1925 - Unknown collection -
    Exhibitions
    1925 - Bottega di Poesia, "Tamara de Lempitzka", Milan, Italy
  • Leaning Nude II
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    Leaning Nude II

    B.074
    circa1926
    Oil on canvas
    33 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.
    Collections
    1987 - Private collection - France
    Auctions
    20/12/1983 - PARIS. Deurbergue, # 39 $ 23 750
    06/12/1987 - MONACO. Christie's “Emile”, # 14 $ 33 400
  • Woman Lying on the Grass
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    Woman Lying on the Grass

    B.075
    circa1926
    Oil on canvas
    52,5 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".
    Collections
    Private collection - U.S.A.
    Exhibitions
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    1981 - Walter Haas: Art Déco, le Style Moderne, Zürich, Switzerland
  • Card Players
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    Card Players

    B.076
    circa1926
    Oil on canvas
    35 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.
    Collections
    1972 - Private collection - France
    1975 - Stolen painting - France
    Exhibitions
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
  • Portrait of His Imperial Highness Grand Duke Gabriel
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    Portrait of His Imperial Highness Grand Duke Gabriel

    B.077
    circa1926
    Oil on canvas
    116 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.
    Collections
    1981 - Private collection - U.S.A.
    Exhibitions
    1972 - 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, Italy
    History
    Great 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)
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    Portrait of the Marquis of Afflito (on the staircase)

    B.078
    1926
    Oil on canvas
    116 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.
    Collections
    1972 - Galerie du Luxembourg - France
    1973 - Private collection - U.S.A.
    1994 - Barry Friedman Ltd. - U.S.A.
    1997 - Private collection - U.S.A.
    Exhibitions
    1972 - 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, Japan
    History
    1925, 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
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    Abstract Composition

    B.079
    circa1926
    Oil on canvas
    35 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.
    Collections
    1988 - Private collection - France
    Auctions
    15/06/1988 - PARIS. Charbonneaux., # ? $ 15 833
  • Abstract Composition
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    Abstract Composition

    B.080
    circa1926
    Oil on canvas
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    (Composition abstraite)
    Collections
    1980 - Lempicka Estate - U.S.A.
  • Kizette in Pink
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    Kizette in Pink

    B.081
    circa1926
    Oil on canvas
    116 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.
    Collections
    1928 - Musée des Beaux-Arts de Nantes - France
    Exhibitions
    1928 - 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, Japan
    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.
    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.