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Stylistic development

These were the years of Lempicka's greatest success. The museum of Nantes acquired her "Kizette in Pink" (B.81), and a number of rich collectors commissioned portraits - their own, of course, but also that of a wife and daughter for one, or of a mistress, for the other. At the peak of her talent, Lempicka was able to make the most of her feminine models, enhancing their charms with signs of the new spirit of the times. She thus imbued them with elegance and supreme nonchalance, sensuality and throbbing vitality. The portraits - and even the still lifes - belonging to this period convey contagious optimism in a triumphantly youthful and modernist vein. Success lent Lempicka wings, encouraging her to work and exhibit tirelessly. By now, she had found a certain signature style: a highly original, and effective, synthesis of Mannerism and toned down Neo-Cubism. This style was so well matched to the era that, in retrospect, it can be termed as emblematic of it.
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spacerStudy for
Study for "Portrait of Grand Duke" I
spacerStudy for
Study for "Portrait of Grand Duke" II
spacerStudy for
Study for "La belle Rafaëla"
spacerSketch. Reclining Nude
Sketch. Reclining Nude
spacerSeated Nude Hiding Her Face
Seated Nude Hiding Her Face
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spacerSketch. Standing Nude
Sketch. Standing Nude
spacerSketch. Seated Nude
Sketch. Seated Nude
spacerSketch. Seated Nude
Sketch. Seated Nude
spacerSketch. Reclining Nude
Sketch. Reclining Nude
spacerSketch. Seated Nude
Sketch. Seated Nude
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spacerSketch. Seated Nude
Sketch. Seated Nude
spacerSketch. Seated Nude Leaning on Her Elbows
Sketch. Seated Nude Leaning on Her Elbows
spacerSketch. Standing Nude
Sketch. Standing Nude
spacerStudy for
Study for "The Communicant"
spacerPortrait of Tadeusz de Lempicki
Portrait of Tadeusz de Lempicki
spacer
spacerHead of a Woman
Head of a Woman
spacerSketch. Kneeling Nude
Sketch. Kneeling Nude
spacerSketch. Seated Nude
Sketch. Seated Nude
spacerSketch. Female Nude
Sketch. Female Nude
spacerSketch. Standing Nude
Sketch. Standing Nude
spacer
spacerEmbrace
Embrace
spacerSeated Male Nude
Seated Male Nude
spacerNude with One Arm Raised
Nude with One Arm Raised
spacerNude from Behind
Nude from Behind
spacerStudy for Self-Portrait
Study for Self-Portrait
spacer
spacerWoman in Evening Gown
Woman in Evening Gown
spacerStudy for
Study for "Portrait of the Woman in Yellow"
spacerStudy for
Study for "Portrait of Mrs. Bush" I
spacerStudy for
Study for "Portrait of Mrs. Bush" II
spacerStudy for
Study for "Portrait of Mrs. Bush" III
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spacerKizette on the Balcony
Kizette on the Balcony
spacerLassitude
Lassitude
spacerThe Pink Tunic
The Pink Tunic
spacerThe Dream
The Dream
spacerLa belle Rafaëla in Green
La belle Rafaëla in Green
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spacerLa belle Rafaëla
La belle Rafaëla
spacerReclining Nude with Book
Reclining Nude with Book
spacerThe Orange Scarf
The Orange Scarf
spacerA Rose on a Letter
A Rose on a Letter
spacerBouquet of Violets
Bouquet of Violets
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spacerBouquet of Thistles with an Open Book
Bouquet of Thistles with an Open Book
spacerThe Pink Shirt I
The Pink Shirt I
spacerSharing Secrets
Sharing Secrets
spacerPortrait of Arlette Boucard
Portrait of Arlette Boucard
spacerHigh Summer
High Summer
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spacerWoman with a Green Glove
Woman with a Green Glove
spacerUnfinished Self-Portrait
Unfinished Self-Portrait
spacerPortrait of Romana de la Salle in Profile
Portrait of Romana de la Salle in Profile
spacerPortrait of Romana de la Salle
Portrait of Romana de la Salle
spacerPortrait of a Young Lady
Portrait of a Young Lady
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spacerThe Communicant
The Communicant
spacerThe Doves
The Doves
spacerNude with Dove
Nude with Dove
spacerThe Pink Shirt II
The Pink Shirt II
spacerMaternity
Maternity
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spacerPortrait of a Man
Portrait of a Man
spacerPortrait of Doctor Boucard
Portrait of Doctor Boucard
spacerPortrait of the Count of Fürstenberg-Herdringen
Portrait of the Count of Fürstenberg-Herdringen
spacerOld Man
Old Man
spacerPortrait of baron Kuffner
Portrait of baron Kuffner
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spacerThe Bride
The Bride
spacerNana de Herrera
Nana de Herrera
spacerThe Green Turban
The Green Turban
spacerMy Portrait
My Portrait
spacerSaint Moritz
Saint Moritz
spacer
spacerThe Musician
The Musician
spacerMyrto
Myrto
spacerThe Slave
The Slave
spacerWomen Bathing
Women Bathing
spacerStudy for
Study for "Women Bathing"
spacer
spacerThree Nudes
Three Nudes
spacerNew York (study)
New York (study)
spacerNew York
New York
spacerSkyscrapers
Skyscrapers
spacerPortrait of Mrs. Bush
Portrait of Mrs. Bush
spacer
spacerWoman in a Yellow Dress
Woman in a Yellow Dress
spacerLittle Girl in Pink (Kizette in Pink II)
Little Girl in Pink (Kizette in Pink II)
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  • Study for
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    Study for "Portrait of Grand Duke" I

    A.100
    circa1927
    Crayon on paper
    24 x 13,3 cm (9 1/2 x 5 1/4 in) 
    LEMPICKA. (artist's stamp bottom right)
    (Etude pour le "portrait du grand duc" I)
    See B.77.
    Collections
    1990 - Private collection - U.S.A.
    Exhibitions
    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.
  • Study for
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    Study for "Portrait of Grand Duke" II

    A.101
    circa1927
    Crayon on paper
    22 x 13 cm (8 5/8 x 5 1/8 in) 
    (Etude pour le "portrait du grand duc" II)
    See B.77.
    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.
  • Study for
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    Study for "La belle Rafaëla"

    A.102
    circa1927
    Crayon on paper
    28 x 44 cm (11 x 17 3/8 in) 
    T.DE LEMPICKA. (artist's stamp bottom right)
    (Etude pour "la belle Rafaëla")
    See B.87.
    Auctions
    21/06/1988 - PARIS. Briest, # 144 $ 2 000
  • Sketch. Reclining Nude
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    Sketch. Reclining Nude

    A.103
    circa1928
    Crayon on paper
    28 x 44 cm (11 x 17 3/8 in) 
    Lempicka (artist's stamp top right)
    (Croquis. Nu couché)
  • Seated Nude Hiding Her Face
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    Seated Nude Hiding Her Face

    A.104
    circa1928
    Crayon on paper
    21 x 27 cm (8 1/4 x 10 5/8 in) 
    T. de Lempicka (bottom left)
    (Nu assis se cachant le visage)
    Collections
    1972 - Private collection - France
  • Sketch. Standing Nude
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    Sketch. Standing Nude

    A.105
    circa1928
    Crayon on paper
    44 x 28 cm (17 3/8 x 11 in) 
    T.DE LEMPICKA. (artist's stamp bottom right)
    (Croquis. Nu debout)
  • Sketch. Seated Nude
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    Sketch. Seated Nude

    A.106
    circa1928
    Crayon on paper
    44 x 28 cm (17 3/8 x 11 in) 
    T.DE LEMPICKA. (artist's stamp bottom right)
    (Croquis. Nu assis)
    Collections
    1995 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Sketch. Seated Nude
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    Sketch. Seated Nude

    A.107
    circa1928
    Crayon on paper
    28 x 44 cm (11 x 17 3/8 in) 
    T.DE LEMPICKA. (artist's stamp bottom right)
    (Croquis. Nu assis)
    Collections
    1996 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Sketch. Reclining Nude
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    Sketch. Reclining Nude

    A.108
    circa1928
    Crayon on paper
    28 x 44 cm (11 x 17 3/8 in) 
    T.DE LEMPICKA. (artist's stamp bottom right)
    (Croquis. Nu couché)
    Collections
    1997 - Collection of Anna Gardner Luce - U.S.A.
  • Sketch. Seated Nude
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    Sketch. Seated Nude

    A.109
    circa1928
    Crayon on paper
    44 x 28 cm (17 3/8 x 11 in) 
    T.DE LEMPICKA. (artist's stamp bottom right)
    (Croquis. Nu assis)
    Collections
    1996 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Sketch. Seated Nude
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    Sketch. Seated Nude

    A.110
    circa1928
    Crayon on paper
    28 x 44 cm (11 x 17 3/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Croquis. Nu assis)
    Auctions
    21/06/1988 - PARIS. Briest, # 161 $ 3 000
  • Sketch. Seated Nude Leaning on Her Elbows
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    Sketch. Seated Nude Leaning on Her Elbows

    A.111
    circa1928
    Crayon on paper
    44 x 28 cm (17 3/8 x 11 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Croquis. Nu assis accoudé)
    Auctions
    21/02/1990 - NEW YORK. Sotheby's Arcade ”1309”, # 56 $ 0
    21/06/1988 - PARIS. Briest, # 173 $ 2 170
  • Sketch. Standing Nude
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    Sketch. Standing Nude

    A.112
    circa1928
    Crayon on paper
    44 x 28 cm (17 3/8 x 11 in) 
    Lempicka (artist's stamp bottom left)
    (Croquis. Nu debout)
    Collections
    1980 - Private collection - U.S.A.
  • Study for
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    Study for "The Communicant"

    A.113
    circa1928
    Pastel on paper
    34 x 22 cm (13 3/8 x 8 5/8 in) 
    (Etude pour "la communiante")
    See B.102.
    Collections
    1980 - Private collection - U.S.A.
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
    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.
  • Portrait of Tadeusz de Lempicki
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    Portrait of Tadeusz de Lempicki

    A.114
    circa1928
    Crayon on paper
    23 x 16 cm (9 x 6 1/4 in) 
    (Portrait de Tadeusz de Lempicki)
    Collections
    1989 - Gutnayer Collection, Wilmette - U.S.A.
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    History
    Tadeusz LEMPITZKI, Family or close friend: In 1916, in Petrograd (St. Petersburg), Tamara Gorska married Count Tadeusz Lempitzki (or Lempicki, since the nobiliary particle was added later, in France). After jointly emigrating to France with their daughter Kizette, the couple divorced in 1928.
  • Head of a Woman
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    Head of a Woman

    A.115
    circa1928
    Crayon on paper
    31,5 x 23,5 cm (12 3/8 x 9 1/4 in) 
    Lempicka 1928 (bottom right)
    (Tête de femme)
    Auctions
    06/12/1995 - PARIS. De Quay, Lombrail, Drouot Montaigne, # 148 $ 7 292
  • Sketch. Kneeling Nude
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    Sketch. Kneeling Nude

    A.116
    circa1929
    Crayon on paper
    44 x 28 cm (17 3/8 x 11 in) 
    Lempicka (artist's stamp bottom right)
    (Croquis. Nu agenouillé)
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Sketch. Seated Nude
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    Sketch. Seated Nude

    A.117
    circa1929
    Crayon on paper
    27 x 21 cm (10 5/8 x 8 1/4 in) 
    T.de Lempicka (bottom right)
    (Croquis. Nu assis)
    Collections
    1989 - Collection of Anna Gardner Luce - U.S.A.
  • Sketch. Female Nude
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    Sketch. Female Nude

    A.118
    circa1929
    Crayon on paper
    44 x 28 cm (17 3/8 x 11 in) 
    Lempicka (artist's stamp bottom left)
    (Croquis. Nu féminin)
    Collections
    1994 - Private collection - Italy
    Auctions
    12/12/1990 - MILANO. Finarte 0-12-039, # 38 $ 5 700
    19/06/1991 - MILANO. Finarte 1-06-47, # 48 $ 5 800
    14/06/1994 - ROME. Finarte, "904", # 181 $ 4 285
  • Sketch. Standing Nude
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    Sketch. Standing Nude

    A.119
    circa1929
    Crayon on paper
    44 x 28 cm (17 3/8 x 11 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Croquis. Nu debout)
    Auctions
    21/06/1988 - PARIS. Briest, # 163 $ 2 330
  • Embrace
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    Embrace

    A.120
    circa1929
    Crayon on paper
    44 x 25 cm (17 3/8 x 9 7/8 in) 
    T. de Lempicka (bottom left)
    (Etreinte)
    Auctions
    05/07/1988 - PARIS. Renaud, # 29 $ 3 370
  • Seated Male Nude
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    Seated Male Nude

    A.121
    circa1929
    Crayon on paper
    29 x 19,3 cm (11 3/8 x 7 5/8 in) 
    de Lempicka (bottom right)
    (Homme nu, assis)
    Collections
    1995 - Private collection - France
    Auctions
    05/05/1986 - PARIS. Renaud, # 21 $ 0
    30/11/1987 - PARIS. Poulain, Le Fur, # ? $ 1 030
  • Nude with One Arm Raised
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    Nude with One Arm Raised

    A.122
    circa1929
    Crayon on paper
    23,7 x 15,6 cm (9 3/8 x 6 1/8 in) 
    de Lempicka (bottom right)
    (Nu, un bras levé)
    Auctions
    05/05/1986 - PARIS. Renaud, # 24 $ 0
  • Nude from Behind
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    Nude from Behind

    A.123
    circa1929
    Crayon on paper
    25,3 x 17,5 cm (10 x 6 7/8 in) 
    Lempicka (artist's stamp bottom left)
    (Nu assis de dos)
  • Study for Self-Portrait
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    Study for Self-Portrait

    A.124
    1929
    Crayon on paper
    34,9 x 26,8 cm (13 3/4 x 10 1/2 in) 
    (Etude pour l'autoportrait)
    This drawing (in recirca e of the painting) was meant to be transferred onto the painting panel. See B.115.
    Auctions
    13/05/1987 - NEW YORK. Phillips “662”, # 48 $ 10 000
  • Woman in Evening Gown
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    Woman in Evening Gown

    A.125
    circa1929
    Crayon on paper
    27 x 20,8 cm (10 5/8 x 8 1/4 in) 
    T.de Lempicka (bottom right)
    (Femme en robe du soir)
    Auctions
    05/05/1986 - PARIS. Renaud, # 22 $ 920
  • Study for
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    Study for "Portrait of the Woman in Yellow"

    A.126
    1929
    Crayon on paper
    14 x 9 cm (5 1/2 x 3 1/2 in) 
    LEMPICKA. (bottom right)
    (Etude pour le "portrait de la femme en jaune")
    See B.127.
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Study for
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    Study for "Portrait of Mrs. Bush" I

    A.127
    1929
    Conté pencil on paper
    14,5 x 7,1 cm (5 3/4 x 2 3/4 in) 
    T.K. (middle right)
    (Etude pour le "portrait de Mrs. Bush" I)
    The monogram T.K. stands for Tamara Kuffner; this is the only example of its being used. See B.126.
    Exhibitions
    1981 - Walter Haas: Art Déco, le Style Moderne Zuerich, Switzerland
    History
    First stay in the UNITED STATES, Addresses: Tamara de Lempicka travelled to New York in September 1929, in order to fulfil several commissions. The press was very much taken with the beautiful Polish woman's aura. Her skilful way of suggesting the aristocratic charms of the Old World high society in her art made her a manner of ambassadress of that world.
    Mrs. Rufus BUSH, Client: Mrs. Rufus Bush was a wealthy heiress. When she sat for Lempicka, she was 19 and freshly married. After her divorce three years later, she had the painting stored away and promptly forgot all about it. Sixty years later, her daughter was surprised to discover, while reading Kizette de Lempicka's book, that her mother was involved. Out of curiosity, the daughter paid a visit to the old storehouse harboring remnants of various family moves, where she came upon the painting. In a letter she immediately got off to share here feelings with Kizette, the daughter writes: "There it was, like new, in perfect condition, unmoved over the past sixty years! It was a moving experience, like opening a time capsule." This was the commission that had brought Lempicka to New York in 1929.
  • Study for
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    Study for "Portrait of Mrs. Bush" II

    A.128
    1929
    Conté pencil on paper
    19,7 x 7,1 cm (7 3/4 x 2 3/4 in) 
    de Lempicka (bottom right)
    (Etude pour le "portrait de Mr. Bush" II)
    See B.126.
    Exhibitions
    1981 - Walter Haas: Art Déco, le Style Moderne, Zürich, Switzerland
    History
    First stay in the UNITED STATES, Addresses: Tamara de Lempicka travelled to New York in September 1929, in order to fulfil several commissions. The press was very much taken with the beautiful Polish woman's aura. Her skilful way of suggesting the aristocratic charms of the Old World high society in her art made her a manner of ambassadress of that world.
    Mrs. Rufus BUSH, client: Mrs. Rufus Bush was a wealthy heiress. When she sat for Lempicka, she was 19 and freshly married. After her divorce three years later, she had the painting stored away and promptly forgot all about it. Sixty years later, her daughter was surprised to discover, while reading Kizette de Lempicka's book, that her mother was involved. Out of curiosity, the daughter paid a visit to the old storehouse harboring remnants of various family moves, where she came upon the painting. In a letter she immediately got off to share here feelings with Kizette, the daughter writes: "There it was, like new, in perfect condition, unmoved over the past sixty years! It was a moving experience, like opening a time capsule." This was the commission that had brought Lempicka to New York in 1929.
  • Study for
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    Study for "Portrait of Mrs. Bush" III

    A.129
    1929
    Crayon on paper
    22 x 13,5 cm (8 5/8 x 5 3/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Etude pour le "portrait de Mrs. Bush" III)
    See B.126.
    Collections
    1985 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    History
    First stay in the UNITED STATES, Addresses: Tamara de Lempicka travelled to New York in September 1929, in order to fulfil several commissions. The press was very much taken with the beautiful Polish woman's aura. Her skilful way of suggesting the aristocratic charms of the Old World high society in her art made her a manner of ambassadress of that world.
    Mrs. Rufus BUSH, Client: Mrs. Rufus Bush was a wealthy heiress. When she sat for Lempicka, she was 19 and freshly married. After her divorce three years later, she had the painting stored away and promptly forgot all about it. Sixty years later, her daughter was surprised to discover, while reading Kizette de Lempicka's book, that her mother was involved. Out of curiosity, the daughter paid a visit to the old storehouse harboring remnants of various family moves, where she came upon the painting. In a letter she immediately got off to share here feelings with Kizette, the daughter writes: "There it was, like new, in perfect condition, unmoved over the past sixty years! It was a moving experience, like opening a time capsule." This was the commission that had brought Lempicka to New York in 1929.
  • Kizette on the Balcony
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    Kizette on the Balcony

    B.082
    1927
    Oil on canvas
    130 x 81 cm (51 1/8 x 31 7/8 in) 
    DE LEMPICKA. / 27 (bottom left)
    (Kizette au balcon *)
    The girl, clasping a virtual apple in her right hand, stands on the balcony, an eminently transitional space. A warm light radiates protectively from within while, down below, on the outside, the nocturnal chaos of the city, as seen from the balcony, inspires forebodings. A photo, by Marc Vaux, of the first circa ion of this painting reveals that, for this circa ion, the face and hairdo were changed.
    Collections
    1976 - Musée National d'Art Moderne - Paris
    Exhibitions
    1927 - Exposition de Bordeaux, "Exposition Internationale des Beaux-Arts", Bordeaux, France
    1927 - Salon d'Automne 1927, Paris, France
    1928 - Musée des Beaux-Arts de Nantes, "Salon", Nantes, France
    1929 - Carnegie Institute 1929, "28th International Exhibition of Paintings", Pittsburgh, United States
    1929 - "Cercle des Artistes Polonais à Paris", Paris, France
    1930 - Galerie Colette Weil 1930, "Tamara de Lempicka", Paris, France
    1961 - Galerie Ror-Volmar, "T. de Lempicka, œuvres récentes et anciennes, 1930-1960", Paris, France
    History
    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.
  • Lassitude
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    Lassitude

    B.083
    1927
    Oil on wood panel
    47 x 27 cm (18 1/2 x 10 5/8 in) 
    DE LEMPICKA. (top right)
    (Lassitude *)
    A painting given as a gift to the Polish art critic Woroniecki, whose reviews lavished praise on Lempicka's public events.
    Collections
    1927 - Purchased directly by Mr. Woroniecki - Poland
    1979 - National Museum Warsaw - Poland
    Exhibitions
    1992 - The National Museum of Women in the Art, "Polish Women Artists and Avant-Garde/Voices of Freedom", Washington, United States
    History
    The art critic WORUNIECKI, Art critic: Woroniecki wrote the art reviews for the newpaperLa Pologne , published in Paris during the twenties. He owned one of Lempicka's paintings, "Lassitude" (B.83); the work now belongs to the permanent collections of the Museum of Modern Art of Warsaw. One wonders whether the artist made a gift of this painting to the critic, in gratitude for his always very flattering reviews of Lempicka's public appearances. Lempicka's daughter remembers that he was a very wealthy man, and that he courted his mother, with whom he travelled to Italy.
  • The Pink Tunic
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    The Pink Tunic

    B.084
    1927
    Oil on canvas
    73 x 116 cm (28 3/4 x 45 5/8 in) 
    DE LEMPICKA. (bottom right)
    (La tunique rose *)
    Another portrait of Rafaela, shown here as reclining on a couch and wearing what was, at the time, termed a pink "tunic". The identity of this model was listed by Lempicka herself in her address book, together with the name of the work's owner. Just as in the nude painting she did of the same model ("La belle Rafaëla", B.87), the color harmonies have been rstricted to one dominant color and various shades of gray.
    Collections
    1927 - Purchased directly by Mr. Vandercook - U.S.A.
    1972 - FAR Gallery - U.S.A.
    1975 - Private collection - U.S.A.
    1983 - Private collection - U.S.A.
    Exhibitions
    1928 - Musée des Beaux-Arts de Nantes, "Salon", Nantes, France
    1972 - FAR Gallery, "Women-Femmes-Mujeres-Frauen", New-York, United States
    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)
    Auctions
    01/10/1983 - NEW YORK. Christie's “Breuer-5404", # 155 $ 75 000
  • The Dream
    enlarge

    The Dream

    B.085
    1927
    Oil on canvas
    81 x 60 cm (31 7/8 x 23 5/8 in) 
    (Le rêve *)
    This portrait, imbued with gentleness and a sense of modesty, is a far cry from the dubious world one might guess, given the circumstances of "La belle Rafaëla's" encounter along the Bois de Boulogne pathways (cf. "RAFAELA" in the Repertory). Lempicka's album lists: Rafaela on Green Background / July 1927.
    Collections
    1984 - Barry Friedman Ltd. - U.S.A.
    1985 - Collection of Mrs. Àntonia Schulman - U.S.A.
    Exhibitions
    1929 - Salon des Indépendants 1929, Paris, France
    1929 - Carnegie Institute 1929, "28th International Exhibition of Paintings", Pittsburgh, United States
    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
    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)
  • La belle Rafaëla in Green
    enlarge

    La belle Rafaëla in Green

    B.086
    circa1927
    Oil on canvas
    38 x 61 cm (15 x 24 in) 
    T.DE LEMPICKA. (top left)
    (La belle Rafaela en vert)
    This painting varies only slightly from the other circa ion: here the two arms are raised, and the perspective is emphasized even more strongly.
    Collections
    1986 - Walter Haas Gallery - Switzerland
    1997 - Private collection -
    Exhibitions
    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
    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)
    Auctions
    18/05/1990 - NEW YORK. Sotheby's “6020-Miracolo”, # 402 $ 0
  • La belle Rafaëla
    enlarge

    La belle Rafaëla

    B.087
    1927
    Oil on canvas
    65 x 92 cm (25 5/8 x 36 1/4 in) 
    T.DE LEMPICKA. (top left)
    (La belle Rafaela *)
    A woman with a generously proportioned body reclines on her back. The decor, like the color harmony, has been reduced to its most basic expression. A red cloth, hiding the figure's feet, stands out against a black background: a clever device allowing the artist to crop her subject more tightly. Lempicka also underscored the impact of this composition by applying bold Caravaggesque formulas.
    Collections
    1927 - Purchased directly by Mr. Baudry - France
    1967 - Galerie du Luxembourg - France
    1975 - Private collection - France
    1985 - Private collection - U.S.A.
    Exhibitions
    1927 - Salon d'Automne 1927, Paris, France
    1928 - Musée des Beaux-Arts de Nantes, "Salon", Nantes, France
    1928 - Salon des Indépendants 1928, Paris, France
    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
    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)
    Auctions
    15/05/1985 - NEW YORK. Sotheby's "5325-Soliel”, # 355 $ 220 000
  • Reclining Nude with Book
    enlarge

    Reclining Nude with Book

    B.088
    circa1927
    Oil on canvas
    T.DE LEMPICKA. (top left)
    (Nu couché au livre)
    Books are a frequent theme in this artist's oeuvre; their presence often has to do with melancholy.
    Collections
    1930 - Purchased directly by Mr. Fernand Vallon - France
    Exhibitions
    1928 - Salon des Tuileries 1928, Paris, France
    History
    Dr. Fernand VALLON, Client: A physician and art collector, Fernand Vallon was also the author of a book entitled Au Louvre avec Delacroix (Editions Arthaud, 1930), with a preface by the French art historian Elie Faure. Again in 1930, he contributed a lovely essay on Lempicka to Art et Médecine, earning himself the very beautiful "Reclining Nude with Book".
  • The Orange Scarf
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    The Orange Scarf

    B.089
    1927
    Oil on wood panel
    41 x 33 cm (16 1/8 x 13 in) 
    T.DE LEMPICKA. (top right)
    (L'écharpe orange)
    This is the second cover Lempicka provided for the German fashion magazine "Die Dame". The woman couple combines the face of Irene (cf. "Irene and Her Sister", B.57) with, to the right, that of the model whose hypnotic gaze would reappear in the artist's later "The Bride" (B.112).
    Collections
    1928 - Purchased directly by Baron Raoul de Kuf - Hungaria
    1990 - Private collection - U.S.A.
    Exhibitions
    1928 - Salon des Tuileries 1928, Paris, France
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    1981 - Walter Haas: Art Déco, le Style Moderne, Zürich, Switzerland
    Auctions
    18/05/1990 - NEW YORK. Sotheby's “6020-Miracolo”, # 401 $ 180 000
  • A Rose on a Letter
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    A Rose on a Letter

    B.090
    1927
    Oil on canvas on cardboard
    (Une rose sur une lettre)
    A rose similar to the one adorning the "telephone operator's" (B.133) buttonhole.
    Collections
    1927 - Unknown collection
  • Bouquet of Violets
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    Bouquet of Violets

    B.091
    circa1927
    Oil on canvas on cardboard
    33 x 24 cm (13 x 9 1/2 in) 
    T.DE LEMPICKA. (bottom right)
    (Bouquet de violettes)
    An interestingly de-centered composition.
    Collections
    1985 - Barry Friedman Ltd. - U.S.A.
    1988 - Private collection - Germany
    Auctions
    25/11/1988 - MÜNCHEN. Villa Grisebach Auktionen, # 125 $ 12 470
    27/06/1986 - LONDON. Christie's “Mattie-3436”, # 460 $ 4 800
  • Bouquet of Thistles with an Open Book
    enlarge

    Bouquet of Thistles with an Open Book

    B.092
    circa1927
    Oil on canvas
    16 x 22 cm (6 1/4 x 8 5/8 in) 
    (Bouquet de chardons au livre ouvert)
    Collections
    1990 - Private collection - France
    Auctions
    05/12/1990 - PARIS. Millon, Robert, # 47 $ 4 800
  • The Pink Shirt I
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    The Pink Shirt I

    B.093
    circa1927
    Oil on wood panel
    41 x 33 cm (16 1/8 x 13 in) 
    DE LEMPICKA. (top right)
    (La chemise rose I)
    If this languorous woman in love, loosely clad in a transparent overall, had not tilted her head at the right angle, she might have ocirca tepped the limits of the painting's format. This is, of course, only a Mannerist device, but here it has been applied with utmost mastery.
    Collections
    1975 - Private collection - Switzerland
    1980 - Mathysen-Gerst - U.S.A.
    1984 - Private collection - U.S.A.
    1995 - Private collection - U.S.A.
    Exhibitions
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
  • Sharing Secrets
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    Sharing Secrets

    B.094
    1928
    Oil on canvas
    46 x 38 cm (18 1/8 x 15 in) 
    (Les confidences *)
    Les confidences [Sharing Secrets]1928-1929 is handwritten on the back of this painting, together with a label printed in red and reading "1929 problemi dell'arte attuale". This show may have taken place at the Milan Bottega di Poesia gallery (according to Lela Titonel). As for Rosine Buhler, she thinks she recognizes the silk cloth print seen in the foreground as a model belonging to the Ducharne line.
    Collections
    1990 - Galleria Campo dei Fiori - Italy
    Exhibitions
    1992 - Accademia Valentino, "La seduzione da Boucher a Warhol", Rome, Italy
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
    1996 - Galleria Campo dei Fiori, "Da Balla a De Lempicka", Rome, Italy
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    Auctions
    10/04/1990 - MILANO. Finarte . ASTA 734, # 311 $ 320 600
  • Portrait of Arlette Boucard
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    Portrait of Arlette Boucard

    B.095
    1928
    Oil on canvas
    70 x 130 cm (27 1/2 x 51 1/8 in) 
    T.DE LEMPICKA. (bottom left); LACTEOL(top right)
    (Portrait d'Arlette Boucard *)
    Here the artist has portrayed the daughter of her wealthy client, the physician Pierre Boucard. In the background, we see Boucard's boat (baptized "Lactéol", the name of the medication that made his fortune) at anchor in the port, in a very faithful reflection of the "dolce vita" enjoyed by the upper classes in the late twenties.
    Collections
    1928 - Purchased directly by Dr. Pierre Boucard - France
    1980 - Walter Haas Gallery - Switzerland
    1982 - Barry Friedman Ltd. - U.S.A.
    1983 - Private collection - U.S.A.
    Exhibitions
    1928 - Salon d'Automne 1928, Paris, France
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    1981 - Walter Haas: Art Déco, le Style Moderne, Zürich, Switzerland
    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.
    1928, Chronology: Tamara and Tadeusz were divorced (against the artist's wishes) and the portrait she had begun to paint of her husband (cat.38) was never finished. She made the acquaintance of Dr Pierre Boucard, who commissioned several portraits. Working increasingly hard, she began to enjoy financial success, spending long periods in Cannes.
    Doctor BOUCARD, Client: Second only to Baron Kuffner, the physician Pierre Boucard - inventor of the famous "Lactéol" pill - was an enthusiastic collector of Lempicka's works. He was, moreover, a friend of the photographer Jacques-Henri Lartigue as well, often appearing in the latter's photos of various joyous occasions at the French coastal resort of Deauville. In addition to his own portrait, his wife's, and his daughter's, this avid collector also owned "The Slave" (B.119), and "Myrto" (B.118), although the latter fell victim to a German pillager at the war's end (as noted by Lempicka in her album).
    Jacques-Henri LARTIGUE, Photographer: A photographer who chronicled happiness and the carefree life: his casual and witty snapshots have been the subject of numerous publications. Lartigue's portrait of the physician Pierre Boucard at his microscope may have served as inspiration to Lempicka. Lartigue also did several portraits of the lovely Arlette Boucard, his friend's daughter.
  • High Summer
    enlarge

    High Summer

    B.096
    1928
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    T.DE LEMPICKA. (top right)
    (En plein été *)
    To a great extent, this opulent woman resembles "la belle Rafaëla" (whose face we see in "The Dream", B.85). The panel painting itself appeared on the cover of the German fashion magazine "Die Dame" in August 1928.
    Collections
    1928 - Purchased directly by Dr. Pierre Boucard - France
    1978 - Private collection - France
    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
    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)
  • Woman with a Green Glove
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    Woman with a Green Glove

    B.097
    1928
    Oil on plywood
    100 x 65 cm (39 3/8 x 25 5/8 in) 
    (Femme au gant vert )
    The slightly exaggerated stance brings to mind fashion show models.
    Collections
    1982 - Barry Friedman Ltd. - U.S.A.
    1983 - Private collection - U.S.A.
    Exhibitions
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    1981 - Walter Haas: Art Déco, le Style Moderne, Zürich, Switzerland
    1984 - Hollywood American Legion Post, "Tamara", Los Angeles, United States
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
  • Unfinished Self-Portrait
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    Unfinished Self-Portrait

    B.098
    circa1928
    Oil on canvas
    46 x 38 cm (18 1/8 x 15 in) 
    T.DE LEMPICKA. (artist's stamp bottom right)
    (Autoportrait inachevé)
    In this self-portrait, the artist's hairdo corresponds with the photo Thérèse Bonney did of her while she was painting the portrait of Tadeusz in her studio. We can hence date it to around 1928.
    Collections
    1978 - Private collection - U.S.A.
    1987 - Private collection - U.S.A.
    Exhibitions
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    1984 - Hollywood American Legion Post, "Tamara", Los Angeles, United States
    History
    Images of TAMARA, Biography, Psychology: Never had an artist been so preoccupied with her own image as Lempicka: she herself did many self-portraits, and, more especially, spent hours to sitting for photographers, where she would take on the attitude of a professional model. Her long stay in Hollywood, and all her efforts to penetrate the movie world, suggest that she longed to be in the "spotlight". Her "screen test" - with the newsreel producers Pathé in 1932 - shows a supremely self-assured image of her coming down the staircase of her rue Méchain studio, flourishing a seemingly endless cigarette-holder.
    1928, Chronology: Tamara and Tadeusz were divorced (against the artist's wishes) and the portrait she had begun to paint of her husband (cat.38) was never finished. She made the acquaintance of Dr Pierre Boucard, who commissioned several portraits. Working increasingly hard, she began to enjoy financial success, spending long periods in Cannes.
    Auctions
    12/11/1987 - NEW YORK. Sotheby's “5633- Tzanck”, # 378 $ 50 000
  • Portrait of Romana de la Salle in Profile
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    Portrait of Romana de la Salle in Profile

    B.099
    1928
    Oil on wood panel
    T.DE LEMPICKA. (top left)
    (Portrait de Romana de la Salle de profil)
    Lempicka kept up on what was going on in photography during her lifetime. She got to know several photographers - Jacques-Henri Lartigue, Thérèse Bonney, d'Ora, Maywald, and still more - and, through her contact with them, in turn became fascinated with the lighting effects in black-and-white photos.
    Collections
    1928 - Unknown collection -
    Exhibitions
    1930 - Galerie Colette Weil 1930, "Tamara de Lempicka", Paris, France
    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.
  • Portrait of Romana de la Salle
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    Portrait of Romana de la Salle

    B.100
    1928
    Oil on canvas
    162 x 97 cm (63 3/4 x 38 1/4 in) 
    (Portrait de Romana de la Salle )
    A photo by Marc Vaux shows the first stage of this painting, where Romana is depicted with a harder face. In the final circa ion, she tilts her head slightly, as is generally the case in Lempicka's portraits of women, who thus are made to seem quite aristocratic and reserved.
    Collections
    1979 - Barry Friedman Ltd. - U.S.A.
    1980 - Private collection - Germany
    Exhibitions
    1929 - Poznan, "International Exhibition of Arts", Poznan, Poland
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    1989 - Museo Nacional de Arte, "Tamara de Lempicka", Mexico, Mexico
    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.
  • Portrait of a Young Lady
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    Portrait of a Young Lady

    B.101
    circa1928
    Oil on canvas
    27 x 22 cm (10 5/8 x 8 5/8 in) 
    T.DE LEMPICKA. (artist's stamp bottom right)
    (Portrait d'une jeune femme)
    Collections
    1972 - Galerie du Luxembourg - France
    1998 - Private collection -
  • The Communicant
    enlarge

    The Communicant

    B.102
    1928
    Oil on canvas
    100 x 65 cm (39 3/8 x 25 5/8 in) 
    LEMPICKA. (bottom right)
    (La communiante *)
    The medal Lempicka won at the 1929 International Exhibition of Poznan with her first openly religious painting - this portrait of Kizette - meant a great deal to the artist. Appearing for the first time as well, the white dove would reoccur regularly in her oeuvre, just as would the arums boasting immaculate corollas.
    Collections
    1976 - Musée National d'Art Moderne - Paris
    1994 - Musée des Beaux-Arts de Roubaix - France
    Exhibitions
    1928 - Salon d'Automne 1928, Paris, France
    1929 - Poznan, "International Exhibition of Arts", Poznan, Poland
    1929 - "Cercle des Artistes Polonais à Paris", Paris, France
    1930 - Galerie Colette Weil 1930, "Tamara de Lempicka", Paris, France
    1961 - Galerie Ror-Volmar, "T. de Lempicka, œuvres récentes et anciennes, 1930-1960", Paris, France
    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 symbol of DOVE, Biography, Psychology: The dove first appears in Lempicka's portrait of her daughter as "The Communicant" (B.102); it recurs in several works. As the symbol of purity and peace, Aphrodite's bird is also depicted as the messenger of desire (see "Nude with Dove" [B.104] and "Myrto [B.118]). When dead, it of course means that the love message was not heard ("Woman with Dove", B.153).
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
    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.
  • The Doves
    enlarge

    The Doves

    B.103
    circa1928
    Oil on canvas
    DE LEMPICKA. (bottom right)
    (Les colombes )
    Lempicka was sensitive to the symbolism of doves as message-bearers for Aphrodite.
    Collections
    1928 - Unknown collection -
    History
    The symbol of DOVE, Biography, Psychology: The dove first appears in Lempicka's portrait of her daughter as "The Communicant" (B.102); it recurs in several works. As the symbol of purity and peace, Aphrodite's bird is also depicted as the messenger of desire (see "Nude with Dove" [B.104] and "Myrto [B.118]). When dead, it of course means that the love message was not heard ("Woman with Dove", B.153).
  • Nude with Dove
    enlarge

    Nude with Dove

    B.104
    1928
    Oil on canvas
    121 x 64 cm (47 5/8 x 25 1/4 in) 
    (Nu à la colombe *)
    Light and shadow seek out and sculpt the torso and belly of this somewhat untamed model, who shows a suggestion of fright upon the arrival of the messenger dove.
    Collections
    1928 - Purchased directly by Baron Raoul de Kuf - Hungaria
    1986 - Private collection - U.S.A.
    Exhibitions
    1928 - Salon des Indépendants 1928, Paris, France
    History
    The symbol of DOVE, Biography, Psychology: The dove first appears in Lempicka's portrait of her daughter as "The Communicant" (B.102); it recurs in several works. As the symbol of purity and peace, Aphrodite's bird is also depicted as the messenger of desire (see "Nude with Dove" [B.104] and "Myrto [B.118]). When dead, it of course means that the love message was not heard ("Woman with Dove", B.153).
    Auctions
    19/11/1986 - NEW YORK. Sotheby's “ 5513-Roger”, # 154 $ 190 000
  • The Pink Shirt II
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    The Pink Shirt II

    B.105
    1928
    Oil on wood panel
    41 x 33 cm (16 1/8 x 13 in) 
    LEMPICKA. (bottom right)
    (La chemise rose * II)
    Marc Vaux's photo shows this portrait at its first stage, where the background netting in particular, once the same as in "Pink Rose I" (B.93), was modified.
    Collections
    1975 - Purchased directly by Mr. De Montaut - France
    1987 - Private collection - France
    Exhibitions
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    Auctions
    19/06/1987 - PARIS. Poulain, Le Fur, # 91 $ 93 350
  • Maternity
    enlarge

    Maternity

    B.106
    1928
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    LEMPICKA (bottom right)
    (Maternité *)
    A brush drawing on the back of the panel shows the same subject striking a different pose. The gestural expressivity of the hands is particularly noticeable in this composition.
    Collections
    1928 - Purchased directly by Baron Raoul de Kuf - Hungaria
    1987 - Private collection - Great Britain
    Exhibitions
    1931 - Galerie Colette Weil 1931, "Tamara de Lempicka", Paris, France
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Portrait of a Man
    enlarge

    Portrait of a Man

    B.107
    1928
    Oil on canvas
    130 x 81 cm (51 1/8 x 31 7/8 in) 
    (Portrait d'homme *)
    Wearing an elegant black overcoat comfortably buttoned over a scarf of pure white, and with his opera hat in one hand, Count Lempitzki is ready to go out on the town. It is nighttime outside. The cold buildings in the background seem to underscore the determined and conquering step of someone impatient to be off. In his haste, the Count refused to let the artist finish his left hand; never again would he get a chance to pose for the artist (cf. Lempitzki in Historical Background).
    Collections
    1976 - Musée National d'Art Moderne - Paris
    Exhibitions
    1980 - Palazzo Reale, "L'Altra Metà dell'Avanguardia 1910-1940", 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
    History
    1928, Chronology: Tamara and Tadeusz were divorced (against the artist's wishes) and the portrait she had begun to paint of her husband (cat.38) was never finished. She made the acquaintance of Dr Pierre Boucard, who commissioned several portraits. Working increasingly hard, she began to enjoy financial success, spending long periods in Cannes.
    Tadeusz LEMPITZKI, Family or close friend: In 1916, in Petrograd (St. Petersburg), Tamara Gorska married Count Tadeusz Lempitzki (or Lempicki, since the nobiliary particle was added later, in France). After jointly emigrating to France with their daughter Kizette, the couple divorced in 1928.
  • Portrait of Doctor Boucard
    enlarge

    Portrait of Doctor Boucard

    B.108
    1928
    Oil on canvas
    135 x 75 cm (53 1/8 x 29 1/2 in) 
    T.DE LEMPICKA. (bottom left)
    (Portrait du Docteur Boucard *)
    Doctor Boucard was surely a great man of science, as we can easily surmise from the accessories he handles here. The fine pearl on his tie, the dainty mustache, and the casually turned up collar of his doctor's smock show that he also was a man of the world. Lempicka's artistic synthesis was just as successful as the results contained in his test tube!
    Collections
    1929 - Purchased directly by Dr. Pierre Boucard - France
    1985 - Private collection - Switzerland
    Exhibitions
    1929 - Salon des Indépendants 1929, Paris, France
    1929 - Carnegie Institute 1929, "28th International Exhibition of Paintings", Pittsburgh, United States
    1931 - Galerie Colette Weil 1931, "Tamara de Lempicka", Paris, France
    1961 - Galerie Ror-Volmar, "T. de Lempicka, œuvres récentes et anciennes, 1930-1960", Paris, France
    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
    1928, Chronology: Tamara and Tadeusz were divorced (against the artist's wishes) and the portrait she had begun to paint of her husband (cat.38) was never finished. She made the acquaintance of Dr Pierre Boucard, who commissioned several portraits. Working increasingly hard, she began to enjoy financial success, spending long periods in Cannes.
    Doctor BOUCARD, Client: Second only to Baron Kuffner, the physician Pierre Boucard - inventor of the famous "Lactéol" pill - was an enthusiastic collector of Lempicka's works. He was, moreover, a friend of the photographer Jacques-Henri Lartigue as well, often appearing in the latter's photos of various joyous occasions at the French coastal resort of Deauville. In addition to his own portrait, his wife's, and his daughter's, this avid collector also owned "The Slave" (B.119), and "Myrto" (B.118), although the latter fell victim to a German pillager at the war's end (as noted by Lempicka in her album).
    Jacques-Henri LARTIGUE, Photographer: A photographer who chronicled happiness and the carefree life: his casual and witty snapshots have been the subject of numerous publications. Lartigue's portrait of the physician Pierre Boucard at his microscope may have served as inspiration to Lempicka. Lartigue also did several portraits of the lovely Arlette Boucard, his friend's daughter.
    Auctions
    14/11/1985 - NEW YORK. Sotheby's "5391-Rivoli”, # 278 $ 255 000
  • Portrait of the Count of Fürstenberg-Herdringen
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    Portrait of the Count of Fürstenberg-Herdringen

    B.109
    1928
    Oil on canvas
    41 x 27 cm (16 1/8 x 10 5/8 in) 
    (Portrait du comte de Fürstenberg-Herdringen *)
    With his pale yellow eyes, and wearing a severe beret, this aristocrat seems far from easygoing. Giancarlo Marmori finds a resemblance with the Mephisto of Klaus Mann's Berlin. The portrait's tight cropping accentuates the impression of contained energy that the figure seems to breathe out.
    Collections
    1972 - Galerie du Luxembourg - France
    1975 - Private collection - France
    1994 - Barry Friedman Ltd. - U.S.A.
    1995 - Private collection - U.S.A.
    Exhibitions
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    History
    1928, Chronology: Tamara and Tadeusz were divorced (against the artist's wishes) and the portrait she had begun to paint of her husband (cat.38) was never finished. She made the acquaintance of Dr Pierre Boucard, who commissioned several portraits. Working increasingly hard, she began to enjoy financial success, spending long periods in Cannes.
    Auctions
    21/06/1994 - PARIS. Briest. Drouot Montaigne, # 57 $ 67 300
  • Old Man
    enlarge

    Old Man

    B.110
    circa1928
    Oil on canvas
    DE LEMPICKA. (bottom left)
    (Vieillard)
    The portrait of an old man who sports a silky white beard and who, perhaps, is blind. The date for this work was listed by Lempicka, in her - not always altogether reliable - chronological album, as 1928.
    Collections
    1928 - Unknown collection
    Exhibitions
    1936 - Salon des Femmes Artistes Modernes 1936, FAM, Paris, France
    1937 - Salon d'Automne 1937, Paris, France
  • Portrait of baron Kuffner
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    Portrait of baron Kuffner

    B.111
    1928
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    T.DE LEMPICKA. (bottom left)
    (Portrait du baron Kuffner )
    Lempicka painted the portraits of Tadeusz Lempitzki, who made her a countess, and of Raoul Kuffner who, later, would make her a baroness, during the same year. Since then, the two have become neighbors by hanging together at the Musée National d'Art Moderne in Paris. This panel is dated "Dec. 1928" in Lempicka's album.
    Collections
    1976 - Musée National d'Art Moderne - Paris
    History
    1928, Chronology: Tamara and Tadeusz were divorced (against the artist's wishes) and the portrait she had begun to paint of her husband (cat.38) was never finished. She made the acquaintance of Dr Pierre Boucard, who commissioned several portraits. Working increasingly hard, she began to enjoy financial success, spending long periods in Cannes.
    Baron KUFFNER, Family or close friend: Baron Raoul Kuffner de Dioszegh, descended from a wealthy family of Hungarian brewers and breeders, received his title of nobility by the hand of Emperor Francis-Joseph. This great landowner of the Austro-Hungarian Empire had the foresight to part with his property in Europe before emigrating to the United States in 1939. He married Lempicka, in Switzerland, in 1933, "six years after having met her in Paris" (The Billings Gazette, 5 September 1946). The baron's father, Karl, had assembled - in a specially designed wing of his château in Dioszegh - a splendid collection of Old Master paintings, open to his fellow citizens. The collection landed in France between 1930 and 1938, and travelled on to New York in 1940, where it became the object of a prestigious auction at Parke-Bernett's on 18 November 1948. Baron Kuffner died on November 3, 1961, on his return trip from Europe to New York, on the SS Liberté. He is the author of a book pleading in favor of free enterprise: Planomania-Capitalism makes Sense (Richard R. Smith Publishers).
  • The Bride
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    The Bride

    B.112
    1928
    Oil on wood panel
    DE LEMPICKA. (bottom right)
    (La mariée)
    Lempicka painted this bride during the year of her own divorce, which may explain the fierce expression on the beautiful newlywed's face. Lempicka's album specifies "Dec. 28".
    Collections
    1929 - Purchased directly by Mr. John Cole - U.S.A.
  • Nana de Herrera
    enlarge

    Nana de Herrera

    B.113
    1928/1929
    Oil on canvas
    121 x 64 cm (47 5/8 x 25 1/4 in) 
    (Nana de Herrera *)
    Nana de Herrera was a contagiously energetic person, a quality that appealed to artists. It is her silhouette that graces the "Gitanes" cigarette boxes, ever since that famous sketch was created by Max Ponty. In her album, Lempicka specifies the date of execution: "Nov. 4 - Feb. 27, 1929".
    Collections
    1930 - Purchased by Baron Kuffner for Nana de H - France
    1970 - Galerie du Luxembourg - France
    1979 - Barry Friedman Ltd. - U.S.A.
    1980 - Victor Arwas Gallery - Great Britain
    1985 - Private collection - U.S.A.
    Exhibitions
    1929 - "Cercle des Artistes Polonais à Paris", Paris, France
    1930 - Galerie Colette Weil 1930, "Tamara de Lempicka", Paris, France
    1930 - Salon des Tuileries 1930, Paris, France
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    History
    Nana DE HERRERA, Social connexion: Nana de Herrera, a Spanish dancer, was Baron Kuffner's girlfriend. The Baron, in turn, was an enthusiastic collector of Lempicka's paintings, so it was of course the latter whom he commissioned to do a portrait of Nana. The portrait was so successful it made the arts enthusiast realize that, in the last analysis, he preferred the scent of turpentine to the clicking of castanets. his lovely portrait remained in the hands of Lempicka's unfortunate rival, who sold it in 1970.
    Auctions
    14/11/1985 - NEW YORK. Sotheby's "5391-Rivoli", # 279 $ 105 000
  • The Green Turban
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    The Green Turban

    B.114
    1929
    Oil on wood panel
    41 x 33 cm (16 1/8 x 13 in) 
    T.DE LEMPICKA. (top right)
    (Le turban vert *)
    As its title indicates, this painting radiates an intensely green color. It comes not only from the turban, but from the reflections illuminating the bottom half of the faces, which one could easily imagine being produced by a crystal ball beyond the picture frame. The hypnotic gaze that peers out at us enhances this mediumistic atmosphere.
    Collections
    1929 - Purchased directly by Mr. Parijevski - France
    1970 - Private collection - France
    1975 - Private collection - France
    1988 - Private collection - U.S.A.
    Exhibitions
    1930 - Salon des Indépendants 1930, Paris, France
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    1981 - Galerie Françoise Blondel & Yves Plantin, "Tamara de Lempicka", Paris, France
    Auctions
    12/11/1988 - NEW YORK. Sotheby's “5777-Merma”, # 405 $ 200 000
  • My Portrait
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    My Portrait

    B.115
    1929
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    TjL (bottom center)
    (Mon portrait *)
    In its issue of October 3rd, 1928, the very widely read weekly "Vu" published a cover picture by Kertèsz, featuring a young lady at the wheel of a sports car. The picture caption specified that the model's sports outfit, her gloves and her leather cap, were all from Hermès. Lempicka wears exactly the same accessories in her self-portrait, which was obviously inspired by the Kertèsz photo.
    Collections
    1980 - Private collection - Switzerland
    Exhibitions
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    1976 - Musée des Arts Décoratifs, "Paris 1925", 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
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    History
    Lempicka's BUGATTI,Biography, Psychology: The green Bugatti in the famous "Self-portrait" was, in fact, a Renault. Moreover, it was yellow, if we are to believe the recollections of her daughter. Be that as it may, Lempicka was irresistibly seductive at its wheel, so much so that she caught the eye of the woman editor of a major German fashion magazine, Die Dame. This fruitful encounter subsequently provided Lempicka with opportunities to be featured on many cocirca of the magazine, greatly contributing to the spread of her reputation. (according to Passion by Design, The Art and Times of Tamara de Lempicka, op.cit.)
    Images of TAMARA, Biography, Psychology: Never had an artist been so preoccupied with her own image as Lempicka: she herself did many self-portraits, and, more especially, spent hours to sitting for photographers, where she would take on the attitude of a professional model. Her long stay in Hollywood, and all her efforts to penetrate the movie world, suggest that she longed to be in the "spotlight". Her "screen test" - with the newsreel producers Pathé in 1932 - shows a supremely self-assured image of her coming down the staircase of her rue Méchain studio, flourishing a seemingly endless cigarette-holder.
    1928, Chronology: Tamara and Tadeusz were divorced (against the artist's wishes) and the portrait she had begun to paint of her husband (cat.38) was never finished. She made the acquaintance of Dr Pierre Boucard, who commissioned several portraits. Working increasingly hard, she began to enjoy financial success, spending long periods in Cannes.
  • Saint Moritz
    enlarge

    Saint Moritz

    B.116
    1929
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    LEMPICKA. (top right)
    (Saint Moritz *)
    It might have been new, yet somewhat trite, to paint a portrait of a modern young lady vacationing at the Alpine resort St. Moritz. But the proud athletic figure portrayed here gazes out at the heavens, with a look that seems to have captured a procession of stadium gods.
    Collections
    1929 - Purchased directly by Baron Raoul de Kuf - Hungaria
    1976 - Musée des Beaux-Arts d'Orléans (Don de l - France
    Exhibitions
    1976 - Musée du Louvre, "Les nouvelles acquisitions du Musée d'Orléans", Paris, France
    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
  • The Musician
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    The Musician

    B.117
    1929
    Oil on canvas
    116 x 73 cm (45 5/8 x 28 3/4 in) 
    DE LEMPICKA. /29 PARIS (bottom right)
    (La Musicienne *)
    A synthesis of two seemingly contradictory aesthetic viewpoints is clearly visible here. The first takes inspiration from the Italian Renaissance, in the form of an almost seraphic figure, who reads off a few notes of music one by one with melancholic fervor. The second is contemporary, and is conveyed by the background presence of a futurist metropolis. According to the Dictionnaire des Symboles (Robert Laffont, Paris), the color blue is the most deeply symbolic and immaterial of colors: "Movements and sounds, as well as forms, disappear into blue, are drowned by it, fade into it like a bird into the sky...To enter into [the color] blue is a little like Alice in Wonderland, when she crossed over into the other side of the mirror."
    Collections
    1980 - Private collection - U.S.A.
    1982 - Barry Friedman Ltd. - U.S.A.
    Exhibitions
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1961 - Galerie Ror-Volmar, "T. de Lempicka, œuvres récentes et anciennes, 1930-1960", Paris, France
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    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
    History
    Ira PERROT, Family or close friend: Until 1939, Ira Perrot and Lempicka were close friends. Besides sitting for her 1930 portrait ("Portrait of Ira Perrot" [B.143]), most probably Perrot was also the model for "Woman in the Black Dress" (B.31) and "Her Sadness" (B.30). The latter work is listed in Kizette de Lempicka-Foxhall's book as "Portrait of Mrs. P."
  • Myrto
    enlarge

    Myrto

    B.118
    1929
    Oil on canvas
    (Myrto *)
    Most probably, it was with this painting that Lempicka captivated the physician Boucard, who immediately acquired it for his collection. It contains the basic luminist formulas invented by this artist, which represent her originality. The face of a sleeping woman in the background resembles photos of Lempicka at the time. During World War II, a member of the German occupation troops in France was so attracted by the work's power of seduction that he could not resist snatching it up; to date (1998), it has never resurfaced.
    Collections
    1930 - Purchased directly by Dr. Pierre Boucard - France
    1943 - Stolen painting - Germany
    Exhibitions
    1929 - Salon d'Automne 1929, Paris, France
    1931 - Galerie Colette Weil 1931, "Tamara de Lempicka", Paris, France
    History
    The symbol of DOVE, Biography, Psychology: The dove first appears in Lempicka's portrait of her daughter as "The Communicant" (B.102); it recurs in several works. As the symbol of purity and peace, Aphrodite's bird is also depicted as the messenger of desire (see "Nude with Dove" [B.104] and "Myrto [B.118]). When dead, it of course means that the love message was not heard ("Woman with Dove", B.153).
    Doctor BOUCARD, Client: Second only to Baron Kuffner, the physician Pierre Boucard - inventor of the famous "Lactéol" pill - was an enthusiastic collector of Lempicka's works. He was, moreover, a friend of the photographer Jacques-Henri Lartigue as well, often appearing in the latter's photos of various joyous occasions at the French coastal resort of Deauville. In addition to his own portrait, his wife's, and his daughter's, this avid collector also owned "The Slave" (B.119), and "Myrto" (B.118), although the latter fell victim to a German pillager at the war's end (as noted by Lempicka in her album).
  • The Slave
    enlarge

    The Slave

    B.119
    1929
    Oil on canvas
    100 x 65 cm (39 3/8 x 25 5/8 in) 
    T.DE LEMPICKA. (top right)
    (L'esclave *)
    Judging from the background to this beautiful and promising chained "slave", it is hard to believe that a sultan was responsible for her rapt. Whose prisoner might she then be, metaphorically speaking? Upon examination of a photo of Lempicka, Gioia Mori came up with an interesting suggestion with respect to - what we are made to believe - is a self-portrait: that it represents the muted complaint of a wife fettered by marriage chains, from which she awaits deliverance.
    Collections
    1929 - Purchased directly by Dr. Pierre Boucard - France
    1987 - Private collection - U.S.A.
    Exhibitions
    1929 - Salon des Tuileries 1929, Paris, France
    1930 - Galerie Colette Weil 1930, "Tamara de Lempicka", Paris, France
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    1981 - Walter Haas: Art Déco, le Style Moderne, Zürich, Switzerland
    History
    Images of TAMARA, Biography, Psychology: Never had an artist been so preoccupied with her own image as Lempicka: she herself did many self-portraits, and, more especially, spent hours to sitting for photographers, where she would take on the attitude of a professional model. Her long stay in Hollywood, and all her efforts to penetrate the movie world, suggest that she longed to be in the "spotlight". Her "screen test" - with the newsreel producers Pathé in 1932 - shows a supremely self-assured image of her coming down the staircase of her rue Méchain studio, flourishing a seemingly endless cigarette-holder.
    Doctor BOUCARD, Client: Second only to Baron Kuffner, the physician Pierre Boucard - inventor of the famous "Lactéol" pill - was an enthusiastic collector of Lempicka's works. He was, moreover, a friend of the photographer Jacques-Henri Lartigue as well, often appearing in the latter's photos of various joyous occasions at the French coastal resort of Deauville. In addition to his own portrait, his wife's, and his daughter's, this avid collector also owned "The Slave" (B.119), and "Myrto" (B.118), although the latter fell victim to a German pillager at the war's end (as noted by Lempicka in her album).
    Auctions
    12/05/1987 - NEW YORK. Sotheby's “5574-Surprise”, # 334 $ 510 000
  • Women Bathing
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    Women Bathing

    B.120
    1929
    Oil on canvas
    89 x 99 cm (35 x 39 in) 
    T.DE LEMPICKA. (artist's stamp bottom right)
    (Femmes au bain)
    This ambitious painting, which in some ways brings to mind "Rhythm", was only partially finished. Its symbolist theme is reminiscent of the Pre-Raphaelites.
    Collections
    1980 - Private collection - Great Britain
    1982 - Barry Friedman Ltd. - U.S.A.
    1990 - Private collection - U.S.A.
    Exhibitions
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
    History
    The symbol of DOVE, Biography, Psychology: The dove first appears in Lempicka's portrait of her daughter as "The Communicant" (B.102); it recurs in several works. As the symbol of purity and peace, Aphrodite's bird is also depicted as the messenger of desire (see "Nude with Dove" [B.104] and "Myrto [B.118]). When dead, it of course means that the love message was not heard ("Woman with Dove", B.153).
  • Study for
    enlarge

    Study for "Women Bathing"

    B.121
    circa1929
    Oil on wood panel
    60 x 92 cm (23 5/8 x 36 1/4 in) 
    T.DE LEMPICKA. (artist's stamp bottom center)
    (Etude pour "Femmes au bain")
    Except for the middle part, this painting never got beyond a sketch. See B.120.
    Collections
    1993 - Private collection - Poland
    1994 - Private collection - U.S.A.
    Auctions
    20/03/1988 - PARIS. Charbonneaux., # 72 $ 36 667
    18/06/1990 - PARIS. Charbonneaux., # 10 $ 0
    24/04/1993 - KRAKOW. Vindobona, # 17 $ 48 100
  • Three Nudes
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    Three Nudes

    B.122
    circa1929
    Oil on canvas
    136,5 x 58,5 cm (53 3/4 x 23 in) 
    (Trois nus)
    A composition that is very similar to the central part of "Women Bathing", with a soaring effect in addition.
    Collections
    1985 - Barry Friedman Ltd. - U.S.A.
    1987 - Private collection - U.S.A.
    Auctions
    11/02/1987 - NEW YORK. Sotheby's “5554- Martin”, # 66 $ 35 000
  • New York (study)
    enlarge

    New York (study)

    B.123
    circa1929
    Oil on canvas
    81 x 65 cm (31 7/8 x 25 5/8 in) 
    (New York, étude)
    Collections
    Private collection - U.S.A.
    Exhibitions
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    History
    First stay in the UNITED STATES, Addresses: Tamara de Lempicka travelled to New York in September 1929, in order to fulfil several commissions. The press was very much taken with the beautiful Polish woman's aura. Her skilful way of suggesting the aristocratic charms of the Old World high society in her art made her a manner of ambassadress of that world.
    1929, Chronology: Summoned by a wealthy American, Rufus Bush, to paint a portrait of his fiancée, De Lempicka made her first trip to New York. An article published two years earlier in Vanity Fair had prepared America for her arrival. She produced a number of paintings while there, including some studies of skyscrapers. She held exhibitions simultaneously in Poland (winning a bronze medal at the International Exhibition in Poznan), Paris (in four Salons and the Galerie Colette Weil) and the United States (at the Carnegie Institute, Pittsburgh).
  • New York
    enlarge

    New York

    B.124
    circa1929
    Oil on canvas
    46 x 38 cm (18 1/8 x 15 in) 
    T.DE LEMPICKA. (bottom left)
    (New York)
    Lempicka discovered New York in 1929. She went there to carry out a few portrait commissions. She probably painted this work during her first stay. Her urban visions would later appear as backgrounds to her portraits, like the one of Mrs. Boucard, which takes up several elements of this composition.
    Collections
    1993 - 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
    1996 - Barry Friedman Ltd. "Tamara de Lempicka", New-York, United States
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    History
    First stay in the UNITED STATES, Addresses: Tamara de Lempicka travelled to New York in September 1929, in order to fulfil several commissions. The press was very much taken with the beautiful Polish woman's aura. Her skilful way of suggesting the aristocratic charms of the Old World high society in her art made her a manner of ambassadress of that world.
    1929, Chronology: Summoned by a wealthy American, Rufus Bush, to paint a portrait of his fiancée, De Lempicka made her first trip to New York. An article published two years earlier in Vanity Fair had prepared America for her arrival. She produced a number of paintings while there, including some studies of skyscrapers. She held exhibitions simultaneously in Poland (winning a bronze medal at the International Exhibition in Poznan), Paris (in four Salons and the Galerie Colette Weil) and the United States (at the Carnegie Institute, Pittsburgh).
    Auctions
    03/11/1993 - NEW YORK. Christie's “Christine-7762”, # 204 $ 35 000
    12/11/1987 - NEW YORK. Sotheby's “5633-Tzanck”, # 379 $ 0
  • Skyscrapers
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    Skyscrapers

    B.125
    circa1929
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    T.DE L. (bottom right)
    (Gratte-ciels)
    Collections
    1930 - Purchased directly by Baron Raoul de Kuf - Hungaria
    1988 - Private collection - U.S.A.
    History
    First stay in the UNITED STATES, Addresses: Tamara de Lempicka travelled to New York in September 1929, in order to fulfil several commissions. The press was very much taken with the beautiful Polish woman's aura. Her skilful way of suggesting the aristocratic charms of the Old World high society in her art made her a manner of ambassadress of that world.
    1929, Chronology: Summoned by a wealthy American, Rufus Bush, to paint a portrait of his fiancée, De Lempicka made her first trip to New York. An article published two years earlier in Vanity Fair had prepared America for her arrival. She produced a number of paintings while there, including some studies of skyscrapers. She held exhibitions simultaneously in Poland (winning a bronze medal at the International Exhibition in Poznan), Paris (in four Salons and the Galerie Colette Weil) and the United States (at the Carnegie Institute, Pittsburgh).
    Auctions
    12/05/1988 - NEW YORK. Christie's “Man Ray-6596”, # 285 $ 38 000
  • Portrait of Mrs. Bush
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    Portrait of Mrs. Bush

    B.126
    1929
    Oil on canvas
    122 x 66 cm (48 x 26 in) 
    (Portrait of Mrs. Bush)
    This portrait of Mrs. Rufus Bush, as a young bride of nineteen, was painted in the United States, explaining its American format. In fact, it was for this commission that Lempicka first went to New York (see the preliminary sketches).
    Collections
    1929 - Purchased directly by Mr. Rufus Bush - U.S.A.
    1989 - Private collection - U.S.A.
    History
    First stay in the UNITED STATES, Addresses: Tamara de Lempicka travelled to New York in September 1929, in order to fulfil several commissions. The press was very much taken with the beautiful Polish woman's aura. Her skilful way of suggesting the aristocratic charms of the Old World high society in her art made her a manner of ambassadress of that world.
    1929, Chronology: Summoned by a wealthy American, Rufus Bush, to paint a portrait of his fiancée, De Lempicka made her first trip to New York. An article published two years earlier in Vanity Fair had prepared America for her arrival. She produced a number of paintings while there, including some studies of skyscrapers. She held exhibitions simultaneously in Poland (winning a bronze medal at the International Exhibition in Poznan), Paris (in four Salons and the Galerie Colette Weil) and the United States (at the Carnegie Institute, Pittsburgh).
    Mrs. Rufus BUSH, Client: Mrs. Rufus Bush was a wealthy heiress. When she sat for Lempicka, she was 19 and freshly married. After her divorce three years later, she had the painting stored away and promptly forgot all about it. Sixty years later, her daughter was surprised to discover, while reading Kizette de Lempicka's book, that her mother was involved. Out of curiosity, the daughter paid a visit to the old storehouse harboring remnants of various family moves, where she came upon the painting. In a letter she immediately got off to share here feelings with Kizette, the daughter writes: "There it was, like new, in perfect condition, unmoved over the past sixty years! It was a moving experience, like opening a time capsule." This was the commission that had brought Lempicka to New York in 1929.
  • Woman in a Yellow Dress
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    Woman in a Yellow Dress

    B.127
    1929
    Oil on canvas
    78 x 118 cm (30 3/4 x 46 1/2 in) 
    New York 1929 (on the back of the canvas)
    (Femme à la robe jaune)
    Wearing a saffron dress that stands out against the gray background of a stormy sky, this blond young lady, with a disillusioned expression on her face, recaptures, almost entirely, the pose struck by Madame de Récamier. The painting was executed during Lempicka's first stay in New York.
    Collections
    1972 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Little Girl in Pink (Kizette in Pink II)
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    Little Girl in Pink (Kizette in Pink II)

    B.130
    circa1928/1930
    Oil on canvas
    116 x 73 cm (45 5/8 x 28 3/4 in) 
    DE LEMPICKA. (en bas à droite)
    This painting attributed to Tamara de Lempicka came up in a Sotheby's auction in New York in November 1982. The auction catalogue asserted: "This work is a second circa ion with some slight variations, of the well-known portrait of the artist's daughter, Kizette in Pink, acquired by the Musée de Nantes in 1928". We may suppose that, after having sold the original to a museum, Tamara de Lempicka executed this replica of a portrait she cherised very much. See B.81.
    Collections
    Purchased directly by Mr. Boris Kitchen - U.S.A.
    1982 - Private collection - U.S.A.