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Stylistic development
 
By the late twenties, art and fashion journals had carried Lempicka's fame across the Atlantic. She was asked to come to New York to do several portraits. The year she accepted, 1929, was the fateful year when the extravagances of many a euphoric patron came to a brutal end, as did, by the same token, the creatively carefree attitude of the artists obliged to them. She nonetheless found time enough to paint several superb portraits, and to finish off several studies of skyscrapers.
For some time after returning to France, Lempicka filled the backgrounds of her new portraits of women with idealized buildings that look like dark crystal rocks, as if to conjure up the mineral outline of a future city. In the same spirit, her female models became perfect matches for their dehumanized backdrops: women whose physical appeal hides a soul of ice (see "Portrait of Marjorie Ferry" (B.166).
But it was the tenderness of her own soul that caused her distress and drove her to create a painting - the ecstasy of "Saint Teresa of Avila" (B.140) - foreshadowing a deep, and lasting, personal mystical crisis.
hide all paintings
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spacerStudy for
Study for "Portrait of Ira P."
spacerStudy for
Study for "Portrait of Ira P."
spacerStudy for
Study for "The Blue Scarf"
spacerReclining Nude
Reclining Nude
spacerNude with Necklace
Nude with Necklace
spacer
spacerPortrait of a Woman
Portrait of a Woman
spacerNew York
New York
spacerThe Cigarette Holder
The Cigarette Holder
spacerStudy for the
Study for the "Portrait of Mrs. Boucard"
spacerDouble Profile Portrait of a Man
Double Profile Portrait of a Man
spacer
spacerPortrait of a Man
Portrait of a Man
spacerStudy for
Study for "Portrait of Count V.M."
spacerStudy for
Study for "La Ronde"
spacerNude, with Raised Arms
Nude, with Raised Arms
spacerKneeling Nude
Kneeling Nude
spacer
spacerNude Study
Nude Study
spacerStudy for
Study for "Girl Drawing"
spacerStudy for
Study for "Girl at the Window"
spacerStudy for
Study for "Girl at the Window"
spacerThe Two Girlfriends
The Two Girlfriends
spacer
spacerBust of a Woman Leaning on Her Elbow
Bust of a Woman Leaning on Her Elbow
spacerThe Polish Girl
The Polish Girl
spacerWoman with Mandolin
Woman with Mandolin
spacerThe Girls
The Girls
spacerNude with Buildings
Nude with Buildings
spacer
spacerThe Blue Scarf
The Blue Scarf
spacerPortrait of Mrs. Allan Bott
Portrait of Mrs. Allan Bott
spacerThe Telephone I
The Telephone I
spacerThe Telephone II
The Telephone II
spacerSleeping Girl
Sleeping Girl
spacer
spacerThe Sleeping Girl
The Sleeping Girl
spacerThe Two Girlfriends
The Two Girlfriends
spacerPortrait of Madame G.
Portrait of Madame G.
spacerFigure Sketched on a Gold Background
Figure Sketched on a Gold Background
spacerSaint Theresa of Avila
Saint Theresa of Avila
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spacerThe Straw Hat
The Straw Hat
spacerYoung Lady with Gloves
Young Lady with Gloves
spacerPortrait of Ira P.
Portrait of Ira P.
spacerSpring
Spring
spacerPortrait of a Young Lady and a Square Column
Portrait of a Young Lady and a Square Column
spacer
spacerPortrait of Mrs. Boucard
Portrait of Mrs. Boucard
spacerAdam and Eve
Adam and Eve
spacerIdyll
Idyll
spacerPortrait of Pierre de Montaut
Portrait of Pierre de Montaut
spacerPortrait of a Man with His Collar Turned Up
Portrait of a Man with His Collar Turned Up
spacer
spacerNude with Sailboats
Nude with Sailboats
spacerThe Blue Hour
The Blue Hour
spacerWoman with Dove
Woman with Dove
spacerArlette Boucard with Arums
Arlette Boucard with Arums
spacerArums
Arums
spacer
spacerArums
Arums
spacerFullface and Profile
Fullface and Profile
spacerThe Refugees
The Refugees
spacerMother and Child
Mother and Child
spacerThe Convalescent
The Convalescent
spacer
spacerPortrait of Mrs. M.
Portrait of Mrs. M.
spacerThe Bouquet of Carnations
The Bouquet of Carnations
spacerArums and Ferns
Arums and Ferns
spacerJoan of Arc
Joan of Arc
spacerThe Brilliance
The Brilliance
spacer
spacerPortrait of Marjorie Ferry
Portrait of Marjorie Ferry
spacerThe Flower Wreath I
The Flower Wreath I
spacerThe Flower Wreath II
The Flower Wreath II
spacerThe Round Dance
The Round Dance
spacerGirl Drawing
Girl Drawing
spacer
spacerAt the Window
At the Window
spacerPortrait of Evelyne P.
Portrait of Evelyne P.
spacerPortrait of Suzy Solidor
Portrait of Suzy Solidor
spacerThe Sleeping Girl (Kizette) I
The Sleeping Girl (Kizette) I
spacerPortrait of Miss Poum Rachou
Portrait of Miss Poum Rachou
spacer
spacerWide Brimmed Hat
Wide Brimmed Hat
spacerPortrait of Count Vettor Marcello
Portrait of Count Vettor Marcello
spacerPortrait of Count Vettor Marcello (study)
Portrait of Count Vettor Marcello (study)
spacerPortrait of a Man
Portrait of a Man
spacerPortrait of a Woman
Portrait of a Woman
spacer
spacerPortrait of a Girl
Portrait of a Girl
spacerThe Polish Girl
The Polish Girl
spacerPolish Peasant Girl
Polish Peasant Girl
spacerGirl with Scarf
Girl with Scarf
spacerGirl with Bent Head
Girl with Bent Head
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  • Study for
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    Study for "Portrait of Ira P."

    A.130
    1930
    Crayon on paper
    19 x 12,5 cm (7 1/2 x 4 7/8 in) 
    LEMPICKA (artist's stamp bottom right)
    (Etude pour le "portrait d'Ira Perrot")
    See B.143
    Collections
    1984 - Private collection - Spain
  • Study for
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    Study for "Portrait of Ira P."

    A.131
    1930
    Crayon on paper
    27 x 21 cm (10 5/8 x 8 1/4 in) 
    LEMPICKA. (artist's stamp bottom right)
    measurements of the drawing: 12,3 x 7,2 cm (Etude pour le portrait d'Ira P.)
    See B.143
    Collections
    1972 - Private collection - France
  • Study for
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    Study for "The Blue Scarf"

    A.132
    1930
    Crayon on paper
    35,8 x 25,4 cm (14 1/8 x 10 in) 
    (Etude pour "l'écharpe bleue")
    See B.131
    Auctions
    18/02/1988 - NEW YORK. Christie's “Shira-6540”, # 63 $ 11 000
  • Reclining Nude
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    Reclining Nude

    A.133
    circa1930
    Conté pencil on paper
    20 x 44 cm (7 7/8 x 17 3/8 in) 
    T.de Lempicka 1924. (bottom right)
    (Nu couché)
    La date, ajoutée ultérieurement, n'est pas fiable.
    Collections
    1993 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Nude with Necklace
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    Nude with Necklace

    A.134
    circa1930
    Crayon on paper
    18,5 x 24,5 cm (7 1/4 x 9 5/8 in) 
    T.de Lempicka (bottom center)
    (Nu au collier)
    Collections
    1989 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    Auctions
    23/06/1989 - PARIS. Charbonneaux., # 1 $ 3 100
  • Portrait of a Woman
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    Portrait of a Woman

    A.135
    circa1930
    Crayon on paper
    23,6 x 14,2 cm (9 1/4 x 5 5/8 in) 
    LEMPICKA (artist's stamp bottom left)
    (Portrait de femme)
    Auctions
    21/06/1988 - PARIS. Briest, # 158 $ 3 000
  • New York
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    New York

    A.136
    circa1930
    Crayon on paper
    16 x 11 cm (6 1/4 x 4 3/8 in) 
    LEMPICKA. (artist's stamp bottom right)
    (New York)
    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.
  • The Cigarette Holder
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    The Cigarette Holder

    A.137
    circa1930
    Conté pencil on paper
    9,8 x 14,8 cm (3 7/8 x 5 7/8 in) 
    T.DE LEMPICKA (in a cartouche bottom right)
    sight (Le fume-cigarette)
    Collections
    1972 - Private collection - France
  • Study for the
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    Study for the "Portrait of Mrs. Boucard"

    A.138
    circa1930
    Crayon on paper
    20,8 x 16,5 cm (8 1/4 x 6 1/2 in) 
    LEMPICKA. (artist's stamp bottom right)
    (Etude pour le "portrait de Madame Boucard") measurements of the drawing: 14 x 8,8 cm
    see B.146
    Collections
    1972 - Private collection - France
    History
    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).
  • Double Profile Portrait of a Man
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    Double Profile Portrait of a Man

    A.139
    circa1931
    Crayon on paper
    80 x 59,6 cm (31 1/2 x 23 1/2 in) 
    (Portrait d'homme dédoublé)
    Auctions
    05/10/1989 - NEW YORK. Christie's “Peter-6908”, # 68 $ 17 000
  • Portrait of a Man
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    Portrait of a Man

    A.140
    circa1932
    Crayon on paper
    33 x 24 cm (13 x 9 1/2 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Portrait d'homme)
    Collections
    1982 - Private collection - Belgium
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Study for
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    Study for "Portrait of Count V.M."

    A.141
    circa1932
    Crayon on paper
    22,5 x 17 cm (8 7/8 x 6 3/4 in) 
    T.DE LEMPICKA. (artist's stamp bottom left)
    (Etude pour le "portrait du comte V.M.")
    See B.177.
    Collections
    1985 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    History
    Count Vettor MARCELLO, Client: The count's lineage reaches far back in time, to include - besides several valorous warriors who drove back the Turkish - three doges of Venice and a composer of chamber music. In the early thirties, artists, together with the land's rich and famous, all congregated at his "villa" near Padua. In 1933, Lempicka was also a guest there on several occasions.
  • Study for
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    Study for "La Ronde"

    A.142
    circa1932
    Crayon on paper
    19,2 x 13,5 cm (7 1/2 x 5 3/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Etude pour "la ronde")
    See B.169.
    Collections
    1972 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Nude, with Raised Arms
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    Nude, with Raised Arms

    A.143
    circa1932
    Crayon on paper
    14,7 x 11 cm (5 3/4 x 4 3/8 in) 
    T.DE LEMPICKA. (artist's stamp bottom left)
    (Nu, les bras levés)
    Auctions
    21/06/1988 - PARIS. Briest, # 159 $ 2 670
  • Kneeling Nude
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    Kneeling Nude

    A.144
    circa1932
    Crayon on paper
    14,4 x 10,7 cm (5 5/8 x 4 1/4 in) 
    LEMPICKA. (artist's stamp bottom right)
    (Nu agenouillé)
    Collections
    1972 - Private collection - France
  • Nude Study
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    Nude Study

    A.145
    circa1932
    Crayon on paper
    15,5 x 21,5 cm (6 1/8 x 8 1/2 in) 
    T.DE LEMPICKA (artist's stamp bottom left)
    (Etude de nu)
    Auctions
    21/06/1988 - PARIS. Briest, # 156 $ 2 000
  • Study for
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    Study for "Girl Drawing"

    A.146
    circa1932
    Crayon on paper
    32 x 23 cm (12 5/8 x 9 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Etude pour "jeune fille dessinant")
    See B.170.
    Auctions
    21/06/1988 - PARIS. Briest, # 143 $ 8 670
  • Study for
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    Study for "Girl at the Window"

    A.147
    circa1932
    Crayon on paper
    13 x 10 cm (5 1/8 x 3 7/8 in) 
    (Etude pour "A la fenêtre")
    See B.171.
    Collections
    1980 - Fundacion Victor Manuel Contreras - Mexico
  • Study for
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    Study for "Girl at the Window"

    A.148
    circa1932
    Crayon on paper
    13,1 x 10 cm (5 1/8 x 3 7/8 in) 
    LEMPICKA (artist's stamp bottom right)
    (Etude pour "A la fenêtre")
    See B.171.
    Collections
    1972 - Private collection - France
  • The Two Girlfriends
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    The Two Girlfriends

    A.149
    circa1933
    Crayon on paper
    24 x 15 cm (9 1/2 x 5 7/8 in) 
    T.DE LEMPICKA (artist's stamp bottom right)
    (Les deux amies)
    Auctions
    21/06/1988 - PARIS. Briest, # 148 $ 2 170
  • Bust of a Woman Leaning on Her Elbow
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    Bust of a Woman Leaning on Her Elbow

    A.150
    circa1933
    Crayon on paper
    21,6 x 17,8 cm (8 1/2 x 7 in) 
    T.Lempicka/ Paris 1924 (bottom right)
    (Femme en buste, accoudée)
    1924 seems like an improbable date.
    Collections
    1980 - Private collection - U.S.A.
  • The Polish Girl
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    The Polish Girl

    A.151
    circa1933
    Aquatint
    45 x 36 cm (17 3/4 x 14 1/8 in) 
    (La Polonaise)
    Aquatint after "The Polish Girl". See B.182,Image: 34,5 x 26,5 cm.
    Collections
    1972 - Private collection - France
    1993 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    Auctions
    05/06/1991 - PARIS. Chayette, Calmels, # ? $ 0
    19/03/1989 - VERRIERES-LE-BUISSON. Martin du N., # F $ 5 300
    19/06/1991 - PARIS. Boisgirard, # 1 $ 4 900
    07/06/1991 - PARIS. Lenormand, Dayen, # 15 $ 0
  • Woman with Mandolin
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    Woman with Mandolin

    A.152
    circa1933
    Aquatint
    63 x 41 cm (24 3/4 x 16 1/8 in) 
    (Femme à la mandoline)
    Aquatint after "La Musicienne". See B.117, Image: 56,5 x 36 cm. (22 1/4 x 14 1/8 in.)
    Collections
    1972 - Private collection - France
    1980 - Private collection - Great Britain
    1992 - Walter Haas Gallery - Switzerland
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    Auctions
    05/05/1986 - PARIS. Renaud, # 27 $ 7 860
    14/11/1992 - KÖLN. Ham Kunsthaus am Museum Carola, # 676 $ 5 400
    24/06/1990 - SEMUR-EN-AUXOIS. Le Roy, # ? $ 15 900
    19/06/1991 - PARIS. Boisgirard, # 2 $ 9 100
  • The Girls
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    The Girls

    B.128
    circa1930
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    DE LEMPICKA. (bottom right)
    (Les jeunes filles *)
    At the heart of the cold and threatening metropolis, two "girls" - not all that innocent - snuggle up to each other. Lempicka appreciated this 5F format, because it enabled her to crop her images very tightly. Perhaps she brought along several of these very handy panels in order to do paintings on them during her stay in New York, as may well have been the case for this work, which remained in the United States.
    Collections
    1932 - Purchased directly by Mr. Carlo Grassi - Egypt
    1982 - Walter Haas Gallery - Switzerland
    1983 - Private collection - U.S.A.
    1983 - Barry Friedman Ltd. - U.S.A.
    1990 - Private collection - U.S.A.
    Exhibitions
    1932 - Galerie Fauvety, Paris, France
    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
    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.
  • Nude with Buildings
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    Nude with Buildings

    B.129
    1930
    Oil on canvas
    92 x 73 cm (36 1/4 x 28 3/4 in) 
    T.DE LEMPICKA. (top left)
    (Nu aux buildings)
    A young woman, who has lowered all her defenses, clasps a frail olive branch between her fingers. It represents the natural world, a recollection that seems far away indeed, in this petrified and chilling urban desert.
    Collections
    1931 - Purchased directly by Mr. Théonville - Switzerland
    1979 - Private collection - France
    1983 - Private collection - U.S.A.
    Exhibitions
    1931 - Salon des Indépendants 1931, Paris, France
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    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.
    Auctions
    26/05/1983 - NEW YORK. Christie's “Ivan-5360", # 425 $ 190 000
  • The Blue Scarf
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    The Blue Scarf

    B.131
    1930
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    DE LEMPICKA. 30 (bottom right); L'écharpe 1282 (on the back of the panel)
    (L'écharpe bleue *)
    Final circa ion (signed and dated) of the portrait of a very pretty woman, who could be Mrs. Allan Bott, according to Kizette de Lempicka-Foxhall's handwritten annotation, under the photo of the first circa ion of this portrait.
    Collections
    1930 - Private collection -
    Exhibitions
    1930 - Salon d'Automne 1930, Paris, France
  • Portrait of Mrs. Allan Bott
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    Portrait of Mrs. Allan Bott

    B.132
    1930
    Oil on canvas
    162 x 97 cm (63 3/4 x 38 1/4 in) 
    T.DE LEMPICKA. / 1930 PARIS (bottom left)
    (Portrait de Madame Allan Bott *)
    A work that is the very quintessence of Lempicka's art. The beautiful and rich American portrayed here seems to be levitating halfway up the surrounding skyscrapers, as if to personify the exhilaration of capitalism.
    Collections
    1933 - Purchased directly by Mr. Allan Bott - Italy
    1989 - Private collection - Switzerland
    Exhibitions
    1930 - Galerie Colette Weil 1930, "Tamara de Lempicka", Paris, France
    1930 - Salon des Tuileries 1930, 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.
    Auctions
    10/05/1989 - NEW YORK. Sotheby's “5850-Ripipoint”, # 379 $ 1 200 000
  • The Telephone I
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    The Telephone I

    B.133
    1930
    DE LEMPICKA / 30 . PARIS. (top left)
    (Le téléphone * I)
    First stage of "Telephone II"? (see B.134)
    Collections
    1930 - Unknown collection -
  • The Telephone II
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    The Telephone II

    B.134
    1930
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    LEMPICKA. (top right)
    (Le téléphone * II)
    Why leave such a modern device as a telephone exclusively to movie close-ups? With her precise brushwork, Lempicka proved that this black ebonite object could also be turned into something eminently pictorial.
    Collections
    1980 - Private collection - Germany
    Exhibitions
    1930 - Galerie Colette Weil 1930, "Tamara de Lempicka", 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
  • Sleeping Girl
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    Sleeping Girl

    B.135
    circa1930
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    DE LEMPICKA. (bottom right)
    (Dormeuse *)
    Lempicka painted several sleeping figures: we detect the suggestion of a dance movement in the one depicted here.
    Collections
    1934 - Purchased directly by Baron Jacques de K - France
    Exhibitions
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
  • The Sleeping Girl
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    The Sleeping Girl

    B.136
    1930
    Oil on wood panel
    38 x 46 cm (15 x 18 1/8 in) 
    DE LEMPICKA. (top left)
    (La dormeuse *)
    Lempicka's paintings are always motionless and silent. Her art detests movement. Dreams are her realm.
    Collections
    1930 - Purchased directly by Mrs. Evelyne Artus - U.S.A.
    1997 - Private collection - U.S.A.
    1997 - Stephen E. Myers, Worth Avenue Fine Arts - U.S.A.
    Exhibitions
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • The Two Girlfriends
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    The Two Girlfriends

    B.137
    1930
    Oil on wood panel
    73 x 38 cm (28 3/4 x 15 in) 
    T.DE LEMPICKA. (bottom right)
    (Les deux amies *)
    This work is the first circa ion of a composition to which the artist would often revert in the future.
    Collections
    1930 - Purchased directly by Mr. Laurent - France
    1988 - Private collection - U.S.A.
    Exhibitions
    1930 - Salon d'Automne 1930, Paris, France
    Auctions
    12/05/1988 - NEW YORK. Christie's “Man Ray-6596”, # 286 $ 270 000
    25/06/1987 - ENGHIEN. Champin, Lombrail , # 249 $ 235 000
  • Portrait of Madame G.
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    Portrait of Madame G.

    B.138
    circa1930
    Oil on canvas
    41 x 33 cm (16 1/8 x 13 in) 
    DE LEMPICKA. (bottom right)
    (Portrait de Madame G.)
    It is towards an interior heaven that Mrs. G. seems to be rolling her eyes.
    Collections
    1934 - Collection of Ira Perrot - France
    1985 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    Auctions
    29/11/1985 - PARIS. Boisgirard, # 68 $ 28 350
  • Figure Sketched on a Gold Background
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    Figure Sketched on a Gold Background

    B.139
    circa1930
    Oil on cardboard
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    (Figure esquissée sur fond doré)
    Collections
    1990 - Private collection - Germany
  • Saint Theresa of Avila
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    Saint Theresa of Avila

    B.140
    1930
    Oil on wood panel
    T.DE LEMPICKA. (bottom right)
    (Sainte Thérèse d'Avila)
    Saint Theresa of Avila described her mystic visions as moments of rapture ("arrobamiento"). At such times, she claimed, she felt she was being subjected to "savory torture", an experience captured here in all its sensualism. In Gioia Mori's opinion, this composition renews with the "Ecstasy of St. Theresa" sculpted by Bernini (Sta. Maria della Vittoria, Cornaro Chapel, Rome, ca. 1630).
    Collections
    1930 - Unknown collection -
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
  • The Straw Hat
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    The Straw Hat

    B.141
    1930
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    T.DE LEMPICKA. / 30.PARIS (top right)
    (Le chapeau de paille)
    A painting is listed in Lempicka's album, along with the date of its completion: April 1930. By this time, she had returned to Paris, after a long stay in New York. She again took to painting on the mahogany 5F format panels she was so used to, but now in a less geometric style, and with wavier lines, than before her departure for the States.
    Collections
    1930 - Purchased directly by Mr. Henri Fraisse - France
    1981 - Barry Friedman Ltd. - U.S.A.
    1993 - Private collection - U.S.A.
    Exhibitions
    1984 - Hollywood American Legion Post, "Tamara", Los Angeles, United States
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Young Lady with Gloves
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    Young Lady with Gloves

    B.142
    1930
    Oil on plywood
    61 x 46 cm (24 x 18 1/8 in) 
    T.DE LEMPICKA. (top right)
    (Jeune fille aux gants)
    This painting could have been entitled "The Navel", considering the lengths to which the artist went to glorify this fascinating anatomic detail, whose deepness matches that of the corolla of an arum flower. The unabashed sensualism of this painting did not discourage the Museum of Luxembourg's Acquisitions Committee from purchasing it, at the Salon des Indépendants of 1923.
    Collections
    1932 - Fonds National d'Art Contemporain -
    Exhibitions
    1932 - Salon des Indépendants 1932, Paris, France
    1937 - Musée du Jeu de Paume, "Les femmes artistes d'Europe", Paris, France
    1975 - Scottish Art Council, "Fashion 1900-1939", Edimburgh-London, Great Britain
    1977 - Nationalgalerie, "Tendenzen der Zwanziger Jahre", Berlin, Germany
    1989 - Hayward Gallery 89, "La France, Images of Woman and Ideas of Nation, 1789-1989", London, Great Britain
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
    History
    1932, Chronology: The Musée du Luxembourg in Paris paid 8,000 francs for Young Lady with Gloves (B.142), which had been exhibited in the Salon des Indépendants. Her first showing with "Femmes Artistes Modernes", a group of feminist artists, known by the initials "FAM", who were to include her in their annual exhibition until their association was abandoned. Pathé News devoted a sequence to her, filmed in her studio.
  • Portrait of Ira P.
    enlarge

    Portrait of Ira P.

    B.143
    1930
    Oil on wood panel
    99 x 65 cm (39 x 25 5/8 in) 
    T.DE LEMPICKA. (bottom right)
    (Portrait d'Ira P. *)
    This amorous masterpiece uses satin's tendency to hug the body to particularly brilliant effect, highlighting the model's charms. At the same time, the arum flowers - a favorite of Lempicka's - are depicted wrapping around themselves as sensually as the white material wraps around Ira P.'s body.
    Collections
    1930 - Collection of Ira Perrot - France
    1972 - Galerie du Luxembourg - France
    1980 - Private collection - U.S.A.
    Exhibitions
    1930 - Salon des Indépendants 1930, Paris, France
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    History
    The CALLA LILIES, Biography, Psychology: What could be the significance of the artist's lifelong passion for arum flowers? In Lempicka's work, the objects selected to compose her still lifes - which often bring to mind riddles to be decoded - usually have a symbolic meaning. In the light of her oeuvre, we can easily guess at the symbolism of the arum flower: the white corolla of course brings the ideal of purity to mind, while the tumescent pistil at its center is the very image of concupiscence. Illustrating the artist's tormented mind, it represents, in a manner of speaking, the unstable marriage of sanctity and lust!
    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."
  • Spring
    enlarge

    Spring

    B.144
    1930
    Oil on wood panel
    41 x 33 cm (16 1/8 x 13 in) 
    DE LEMPICKA. (bottom right)
    (Printemps *)
    The title and the subject matter are both inspired by the spirit of the Renaissance, while the gestural elements take inspiration from silent movies. Here again, Lempicka has achieved a fruitful synthesis.
    Collections
    1930 - Purchased directly by Dr. Pierre Boucard - France
    1984 - Barry Friedman Ltd. - U.S.A.
    1994 - Private collection - U.S.A.
    Exhibitions
    1931 - Galerie Colette Weil 1931, "Tamara de Lempicka", 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
  • Portrait of a Young Lady and a Square Column
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    Portrait of a Young Lady and a Square Column

    B.145
    circa1931
    Oil on canvas
    100 x 51 cm (39 3/8 x 20 1/8 in) 
    (Portrait de jeune femme à la colonne carrée)
    No buildings are to be seen in the background, but the mineral surroundings lose nothing of their chill.
    Collections
    1975 - Private collection - Switzerland
    Exhibitions
    1976 - Galerie von Bartha-Lönn, "Europeisk Konst", Göteborg, Sweden
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Portrait of Mrs. Boucard
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    Portrait of Mrs. Boucard

    B.146
    1931
    Oil on canvas
    135 x 75 cm (53 1/8 x 29 1/2 in) 
    T.DE LEMPICKA. (top right)
    (Portrait de Madame Boucard *)
    Lempicka was the only twentieth-century painter to continue the tradition of grand portraiture, without denying any of the conventions that, in centuries past, made its subjects come across so powerfully and haughtily. In this portrait in a Renaissance spirit, the background city seems subjugated to the subject figure's magnificence.
    Collections
    1931 - Purchased directly by Dr. Pierre Boucard - France
    1987 - Private collection - U.S.A.
    Exhibitions
    1931 - Galerie Colette Weil 1931, "Tamara de Lempicka", Paris, France
    1931 - Salon d'Automne 1931, Paris, France
    1932 - Salon des Femmes Artistes Modernes 1932, FAM, Paris, France
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    1991 - Musée des Beaux-Arts de Montréal, "Les années 20, l'âge des métropoles", Montréal, Canada
    History
    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
    12/11/1987 - NEW YORK. Sotheby's “5633-Tzanck”, # 377 $ 775 000
  • Adam and Eve
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    Adam and Eve

    B.147
    1931
    Oil on wood panel
    116 x 73 cm (45 5/8 x 28 3/4 in) 
    DE LEMPICKA. (bottom right)
    (Adam et Eve *)
    The male model who came to Lempicka's studio to pose as Adam was, Lempicka maintained, a policeman doing his rounds in the neighborhood. Long thereafter, the artist remembered how, after entering her studio, the handsome public official had painstakingly folded his uniform, setting down upon it "his big pistol"...(cf. "Passion by Design" by K. de Lempicka-Foxhall). An interview published in the Polish review "Kobieta W..." informs us that this painting, originally intended as a poster for a film called "Sexualism", was turned down by the Paris police headquarters.
    Collections
    1970 - Private collection - Switzerland
    1982 - Barry Friedman Ltd. - U.S.A.
    1983 - Private collection - U.S.A.
    1994 - Private collection - U.S.A.
    Exhibitions
    1932 - Salon des Indépendants 1932, Paris, France
    1933 - Salon des Femmes Artistes Modernes 1933, FAM, Paris, France
    1937 - Salon des Femmes Artistes Modernes 1937, FAM, Paris, France
    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
    Auctions
    03/03/1994 - NEW YORK. Christie's “Streisand-7844”, # 149 $ 1 800 000
  • Idyll
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    Idyll

    B.148
    1931
    Oil on wood panel
    41 x 33 cm (16 1/8 x 13 in) 
    LEMPICKA (top right)
    (Idylle *)
    We recognize the same moonlit port here as in "Portrait of Arlette Boucard" (B.95). Only the name of the boat has changed: this time it is the "Lempicka" that we see alongside the pier. The sailor, of course, is smoking a pipe, although the way he holds it makes him seem less of an old salt.
    Collections
    1931 - Purchased directly by Mr. Boutemy - France
    1980 - Alain Lesieutre Gallery - France
    1991 - Private collection - Japan
    Exhibitions
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, 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.
    Auctions
    15/11/1989 - NEW YORK. Christie's “Patty-6956”, # 447 $ 0
    02/07/1991 - PARIS. Ader, Tajan, # 348 $ 340 315
  • Portrait of Pierre de Montaut
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    Portrait of Pierre de Montaut

    B.149
    1931
    Oil on wood panel
    41 x 27 cm (16 1/8 x 10 5/8 in) 
    DE LEMPICKA (bottom right)
    (Portrait de Pierre de Montaut *)
    Pierre de Montaut was the portraitist's brother-in-law, an architect by profession and a member of the very avant-gardist Union des Artistes Modernes (UAM). In the background of this work, we seem to recognize an impasse in Auteuil (Paris) that was entirely built by his colleague Robert Mallet-Stevens, and which has since been named after him (villa Mallet-Stevens).
    Collections
    1933 - Purchased directly by Mr. De Montaut - France
    1990 - Private collection - France
    Exhibitions
    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
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    History
    1931, Chronology: She had a one-woman show at the Galerie Colette Weil for the second year in sucession. The year saw some of her best portraits. She continued her liaison with baron Raoul Kuffner, whom she had met in 1927 when he had commissioned her to paint a portrait of his mistress, the dancer Nana de Herrera (cat.40).
    Pierre DE MONTAUT, Family or close friend: Pierre de MONTAUT, an architect and member of the U.A.M. (Union des Artistes Modernes), was Lempicka's brother-in-law. Lempicka's sister - Adrienne Gorska or Ada de Montaut - was an architect in her own right (see "Adrienne GORSKA).
    Adrienne GORSKA, Family or close friend: Lempicka's sister was an architect and a member of the U.A.M. (Union des Architectes Modernes), to which Robert Mallet-Stevens, who designed the rue Méchain building, also belonged. She married Pierre de Montaut, another U.A.M. member, and together they specialized in designing movie houses. It was Gorska who was responsible for the interior decoration of Lempicka's studio, for which she created several furniture pieces in chrome metal. Her pieces were a perfect match to the complement of furnishings provided by her colleagues, Djo-Bourgeois, René Herbst, and, of course, Mallet-Stevens. Ada de Montaut passed away in 1969.
  • Portrait of a Man with His Collar Turned Up
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    Portrait of a Man with His Collar Turned Up

    B.150
    circa1931
    Oil on wood panel
    41 x 33 cm (16 1/8 x 13 in) 
    T.DE LEMPICKA. (top left)
    (Portrait d'homme au col relevé)
    Even today, this superb portrait of a man is hardly outdated. Notice the lips, which are as thick as in the portrait of the Grand Duke Gabriel.
    Collections
    1930 - Purchased directly by Mr. Charles Gillal - U.S.A.
    1983 - Barry Friedman Ltd. - U.S.A.
    1984 - Private collection - U.S.A.
    Exhibitions
    1984 - Hollywood American Legion Post, "Tamara", Los Angeles, United States
    Auctions
    26/03/1983 - NEW YORK. Christie's ”Tamara-5286", # 99 $ 18 000
  • Nude with Sailboats
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    Nude with Sailboats

    B.151
    1931
    Oil on canvas
    113 x 56,5 cm (44 1/2 x 22 1/4 in) 
    DE LEMPICKA. (top right)
    (Nu aux voiliers)
    The nude and the background of this work complement each other: the triangular patches thrown on the bodies by shadows echo the stylized forms of the sails.
    Collections
    1931 - Purchased directly by Mr. Henry W. Abott - U.S.A.
    1989 - Barry Friedman Ltd. - U.S.A.
    1990 - Collection of Mr. Bruce R. Lewin - U.S.A.
    Exhibitions
    1931 - Carnegie Institute 1931, "30th International Exhibition of Paintings", Pittsburgh, United States
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
    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.
  • The Blue Hour
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    The Blue Hour

    B.152
    1931
    Oil on canvas
    55 x 38 cm (21 5/8 x 15 in) 
    DE LEMPICKA. (bottom right)
    (L'heure bleue *)
    Judging from the number of replicas she made of this work, Lempicka must have been particularly satisfied with it. Ellen Thorman, however, discovered that it directly repeats the composition of a certain Karl Sterrer's (Vienna 1885-?) painting, entitled "Frau mit Schiffen" and dated 1925.
    Collections
    1931 - Purchased directly by Baron Jacques de K - France
    1981 - Private collection - France
    1982 - Mathysen-Gerst - U.S.A.
    1988 - Private collection - U.S.A.
    Exhibitions
    1931 - Galerie Colette Weil 1931, "Tamara de Lempicka", Paris, France
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, 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.
    Auctions
    16/12/1983 - NEW YORK. Christie's “Elmore-5478”, # 265 $ 0
  • Woman with Dove
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    Woman with Dove

    B.153
    1931
    Oil on wood panel
    37 x 28 cm (14 5/8 x 11 in) 
    DE LEMPICKA. (top right)
    (Femme à la colombe *)
    The dove looks dead, and the woman's dreams seem shattered. The light of the setting sun intensifies the figure's melancholy, while the dramatic chiaroscoro and centering of the image, as always in Lempicka's oeuvre, have a powerful impact.
    Collections
    1931 - Purchased directly by Mr. Davenport - France
    1980 - Private collection - U.S.A.
    Exhibitions
    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).
  • Arlette Boucard with Arums
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    Arlette Boucard with Arums

    B.154
    1931
    Oil on plywood
    91 x 55,5 cm (35 7/8 x 21 7/8 in) 
    T.DE LEMPICKA. (bottom left)
    (Arlette Boucard aux arums *)
    Lempicka took much inspiration from the movie and photograph worlds of her day. She did not seek to copy them, in a hyperrealist fashion, but rather to capture their new charms, especially with respect to the artificial lighting in studio work. The shape and position of the label appearing under the photo reveal that the cliché comes from a studio belonging to Lorelle, a photographer who, moreover, also made several lovely portraits of Lempicka.
    Collections
    1994 - Barry Friedman Ltd. - U.S.A.
    1995 - Private collection - Germany
    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
    History
    The CALLA LILIES, Biography, Psychology: What could be the significance of the artist's lifelong passion for arum flowers? In Lempicka's work, the objects selected to compose her still lifes - which often bring to mind riddles to be decoded - usually have a symbolic meaning. In the light of her oeuvre, we can easily guess at the symbolism of the arum flower: the white corolla of course brings the ideal of purity to mind, while the tumescent pistil at its center is the very image of concupiscence. Illustrating the artist's tormented mind, it represents, in a manner of speaking, the unstable marriage of sanctity and lust!
    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
    12/11/1988 - NEW YORK. Sotheby's “5777-Merma”, # 406 $ 200 000
  • Arums
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    Arums

    B.155
    circa1931
    Oil on wood panel
    92 x 60 cm (36 1/4 x 23 5/8 in) 
    T.DE LEMPICKA. (top right)
    (Arums )
    The often published date of 1941 for this work is obviously erroneous. The style and technique involved definitely date it to the early thirties.
    Collections
    1927 - Private collection - U.S.A.
    1985 - Mathysen-Gerst - U.S.A.
    1990 - Collection of Patricia and James Cayne - U.S.A.
    Exhibitions
    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 CALLA LILIES, Biography, Psychology: What could be the significance of the artist's lifelong passion for arum flowers? In Lempicka's work, the objects selected to compose her still lifes - which often bring to mind riddles to be decoded - usually have a symbolic meaning. In the light of her oeuvre, we can easily guess at the symbolism of the arum flower: the white corolla of course brings the ideal of purity to mind, while the tumescent pistil at its center is the very image of concupiscence. Illustrating the artist's tormented mind, it represents, in a manner of speaking, the unstable marriage of sanctity and lust!
    Auctions
    14/06/1985 - NEW YORK. Sotheby's "5358-Plage”, # 106 $ 72 500
  • Arums
    enlarge

    Arums

    B.156
    1931
    Oil on wood panel
    55 x 33 cm (21 5/8 x 13 in) 
    T.DE LEMPICKA.1931. (bottom center)
    (Arums)
    Collections
    1984 - Barry Friedman Ltd. - U.S.A.
    1990 - Private collection - U.S.A.
    Exhibitions
    1931 - Salon des Indépendants 1931, 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
    The CALLA LILIES, Biography, Psychology: What could be the significance of the artist's lifelong passion for arum flowers? In Lempicka's work, the objects selected to compose her still lifes - which often bring to mind riddles to be decoded - usually have a symbolic meaning. In the light of her oeuvre, we can easily guess at the symbolism of the arum flower: the white corolla of course brings the ideal of purity to mind, while the tumescent pistil at its center is the very image of concupiscence. Illustrating the artist's tormented mind, it represents, in a manner of speaking, the unstable marriage of sanctity and lust!
    Auctions
    03/10/1990 - NEW YORK. Sotheby's “Nuptial”, # 106 $ 0
  • Fullface and Profile
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    Fullface and Profile

    B.157
    circa1931
    Oil on canvas
    46 x 38 cm (18 1/8 x 15 in) 
    T.DE LEMPICKA. (artist's stamp bottom left)
    (Face et profil)
    Here again (cf. "Double 47" [B.33], "Fullface and Profile" [B.157]), Lempicka proceeds to depict one and the same figure from two different angles, thus achieving a strange ubiquity.
    Collections
    1978 - Private collection - U.S.A.
    Exhibitions
    1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, Japan
    1984 - Hollywood American Legion Post, "Tamara", Los Angeles, United States
  • The Refugees
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    The Refugees

    B.158
    1931
    Oil on wood panel
    51 x 53 cm (20 1/8 x 20 7/8 in) 
    T.DE LEMPICKA. (top left)
    (Les réfugiés *)
    Long before becoming Baroness Kuffner, Lempicka had travelled the roads of exile. Perhaps this painting of Spanish refugees reflects her experience in the matter. A reproduction of this work appeared in the daily "El Popular" of August 26, 1932.
    Collections
    1976 - Musée d'Art et d'Histoire de St Denis - France
    Exhibitions
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    History
    The obsession with EXILE, Biography, Psychology: Exile remained a lifelong obsession with Lempicka. It comes through in several of her paintings: "The Refugees" (B.158), 1931; "Before the Storm" (B.195), 1936; and "Flight" (B.220), 1940. The artist actually experienced two radical breaks in her life: the first when she left Bolshevik Russia in dramatic circumstances in 1918; and the second (better prepared!) in 1939, when she left for the United States.
  • Mother and Child
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    Mother and Child

    B.159
    1931
    Oil on wood panel
    33 x 24 cm (13 x 9 1/2 in) 
    LEMPICKA. (top right)
    (Mère et enfant *)
    In the "Beaux Arts" art review of June 1931, this painting is referred to as a "study", but certain parts of it - especially the hand, which resembles the hand in the artist's 1937 "Quattrocento" (B.197) - must have been touched up several years later.
    Collections
    1935 - Collection of G.Ankermann - Holland
    1976 - Musée départemental de l'Oise, Beauvais - France
    Exhibitions
    1932 - Studio on rue Méchain, Paris, France
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
    1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
    1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
  • The Convalescent
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    The Convalescent

    B.160
    1932
    Oil on wood panel
    56 x 42 cm (22 x 16 1/2 in) 
    T.DE LEMPICKA. (bottom left)
    (La convalescente *)
    This marvelous portrait conveys a tenderness rarely exploited in modern art after 1914-18. No doubt, more well-known painters, who might have been tempted to do so, were stopped at the last minute by the very modernist fear of being taxed as overly sentimental. Lempicka knew no such barriers: was she unaware of them, or simply naive? In any case, her forthright attitude led her to attain a unique status in twentieth-century art.
    Collections
    1932 - Purchased directly by Mr. Lemoine - France
    1975 - Private collection - U.S.A.
    Exhibitions
    1932 - Salon d'Automne 1932, Paris, France
    1933 - Salon des Indépendants 1933, Paris, France
    1996 - Barry Friedman Ltd. "Tamara de Lempicka", New-York, United States
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Portrait of Mrs. M.
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    Portrait of Mrs. M.

    B.161
    1932
    Oil on canvas
    100 x 65 cm (39 3/8 x 25 5/8 in) 
    T.DE LEMPICKA. (top right)
    (Portrait de Madame M. *)
    One of the artist's last big portraits. By 1932, the economic crisis had hit Europe as well, and such lavish commissions had become a scarcity.
    Collections
    1932 - Purchased directly by Mr. Morillot - France
    1987 - Private collection - France
    1989 - Private collection - France
    Exhibitions
    1932 - Salon des Tuileries 1932, Paris, France
    1932 - Studio on rue Méchain, Paris, France
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    Auctions
    16/11/1989 - NEW YORK. Sotheby's “5930-Rêve”, # 409A $ 900 000
  • The Bouquet of Carnations
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    The Bouquet of Carnations

    B.162
    circa1932
    Oil on canvas
    30,5 x 35,5 cm (12 x 14 in) 
    LEMPICKA. (top left)
    (Le bouquet d’œillets)
    Dated by analogy with the painting "Arums and Ferns" (B.163).
    Collections
    Private collection - U.S.A.
  • Arums and Ferns
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    Arums and Ferns

    B.163
    1932
    Oil on canvas
    (Arums et fougères *)
    Ever since its appearance at the 1932 Salon des Tuileries, and to this date (1998), this painting has never resurfaced on the market.
    Collections
    1932 - Unknown collection -
    Exhibitions
    1932 - Salon des Tuileries 1932, Paris, France
    History
    The CALLA LILIES, Biography, Psychology: What could be the significance of the artist's lifelong passion for arum flowers? In Lempicka's work, the objects selected to compose her still lifes - which often bring to mind riddles to be decoded - usually have a symbolic meaning. In the light of her oeuvre, we can easily guess at the symbolism of the arum flower: the white corolla of course brings the ideal of purity to mind, while the tumescent pistil at its center is the very image of concupiscence. Illustrating the artist's tormented mind, it represents, in a manner of speaking, the unstable marriage of sanctity and lust!
  • Joan of Arc
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    Joan of Arc

    B.164
    1932
    Oil on wood panel
    41 x 27 cm (16 1/8 x 10 5/8 in) 
    DE LEMPICKA. (bottom left)
    (Jeanne d'Arc *)
    This is an uncommon vision of Joan of Arc. Thus, her allegory escapes the usual conventions linked to depictions of this saint. This painting is the first in a long series of religious works expressing the artist's growing disquiet.
    Collections
    1932 - Unknown collection -
    Exhibitions
    1933 - Macy's, New York, New-York, United States
    1933 - Salon des Tuileries 1933, Paris, France
    History
    The CALLA LILIES, Biography, Psychology: What could be the significance of the artist's lifelong passion for arum flowers? In Lempicka's work, the objects selected to compose her still lifes - which often bring to mind riddles to be decoded - usually have a symbolic meaning. In the light of her oeuvre, we can easily guess at the symbolism of the arum flower: the white corolla of course brings the ideal of purity to mind, while the tumescent pistil at its center is the very image of concupiscence. Illustrating the artist's tormented mind, it represents, in a manner of speaking, the unstable marriage of sanctity and lust!
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
  • The Brilliance
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    The Brilliance

    B.165
    circa1932
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    DE LEMPICKA. (top right)
    (L'éclat *)
    Caravaggesque lighting dramatically enhances the appeal of this maenad (or "bacchante", as Lempicka temporarily entitled the work in a letter to Gino Puglisi); her rolled eyes add a note of ecstasy to this Dionysian subject.
    Collections
    1990 - Private collection - U.S.A.
    Exhibitions
    1933 - Salon des Indépendants 1933, Paris, France
  • Portrait of Marjorie Ferry
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    Portrait of Marjorie Ferry

    B.166
    1932
    Oil on canvas
    100 x 65 cm (39 3/8 x 25 5/8 in) 
    LEMPICKA. (bottom left)
    (Portrait de Marjorie Ferry *)
    Certainly the most scathing of Lempicka's portraits: implacably bathed in light, the balcony and columns appear to be made of sheet iron. This freezing decor is belied by Marjorie's promising gaze, inviting the viewer to surrender to the heat of desire.
    Collections
    1932 - Purchased directly by Mr. Ferry - France
    1995 - Private collection - Germany
    Exhibitions
    1932 - Salon des Tuileries 1932, Paris, France
    1932 - Studio on rue Méchain, Paris, France
    1934 - Galerie du Cygne, Paris, France
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    History
    Mrs. Marjorie FERRY, Client: The Sotheby's auction catalog entry (9 November 1995) informs us that: "According to family tradition, Marjorie Ferry was a cabaret singer, born in London but living in Paris. She married twice, the second time with a Parisian speculator who commissioned this portrait."
    Auctions
    09/11/1995 - NEW YORK. Sotheby's "6770-Zabbik", # 250 $ 552 500
  • The Flower Wreath I
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    The Flower Wreath I

    B.167
    circa1932
    LEMPICKA. (top left)
    (La couronne de fleurs I)
    There is a good chance that the painting shown in this old cliché by Marc Vaux represents the first stage of "The Flower Wreath II" (B.168).
  • The Flower Wreath II
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    The Flower Wreath II

    B.168
    circa1932
    Oil on wood panel
    31 x 22 cm (12 1/4 x 8 5/8 in) 
    Tamara de Lempicka/Paris, 1925 (on the back of the panel)
    (La couronne de fleurs II)
    The panel, seen from a present day vantage point (see B.167), seems to have been reworked and modified by the artist during the fiftees. It is then, no doubt, that Lempicka again added her signature, on the back of the work, together with an approximate date.
    Collections
    1988 - Private collection - U.S.A.
    1994 - Private collection - U.S.A.
    Auctions
    06/10/1988 - NEW YORK. Christie's “Gabrielle-6668”, # 133 $ 30 000
  • The Round Dance
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    The Round Dance

    B.169
    circa1932
    Oil on wood panel
    (La ronde *)
    This strange triangular composition expresses the basics of Lempicka's art, through its synthesis of strongly contrasted movie images in black-and-white, and Caravaggesque chiaroscuro.
    Collections
    1932 - Unknown collection -
    Exhibitions
    1933 - Salon des Indépendants 1933, Paris, France
    1933 - Salon d'Automne 1933, Paris, France
    1933 - Salon des Tuileries 1933, Paris, France
    1934 - Salon des Femmes Artistes Modernes 1934, FAM, Paris, France
    1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
  • Girl Drawing
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    Girl Drawing

    B.170
    circa1932
    Oil on wood panel
    (Jeune fille dessinant)
    Collections
    1934 - Purchased directly by Mr. Lidorikis - Greece
    Exhibitions
    1935 - Salon des Femmes Artistes Modernes 1935, FAM, Paris, France
  • At the Window
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    At the Window

    B.171
    1932
    Oil on wood panel
    39 x 29 cm (15 3/8 x 11 3/8 in) 
    DE LEMPICKA. (bottom right)
    (A la fenêtre *)
    The viewer - theoretically located in the void beyond the painting - has an outside angle of vision that lends the scene an unusual, staged effect. The movie productions of the thirties often resorted to this flying "eye" (moving dolly), to make scenes appear as if seen from a crane.
    Collections
    1932 - Private collection - France
    1980 - Private collection - France
  • Portrait of Evelyne P.
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    Portrait of Evelyne P.

    B.172
    1932
    Oil on wood panel
    28 x 28 cm (11 x 11 in) 
    (Portrait d'Evelyne P. *)
    A portrait of Ira P.'s daughter.
    Collections
    1934 - Collection of Ira Perrot - France
    Exhibitions
    1933 - Salon des Indépendants 1933, Paris, France
    1972 - Galerie du Luxembourg, "Tamara de Lempicka de 1925 à 1935", Paris, France
    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."
  • Portrait of Suzy Solidor
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    Portrait of Suzy Solidor

    B.173
    1933
    Oil on wood panel
    46 x 38 cm (18 1/8 x 15 in) 
    DE LEMPICKA (top left)
    (Portrait de Suzy Solidor)
    A Gaumont news reel shows Suzy Solidor posing in the nude for this portrait, in Lempicka's studio, in 1932 (see Bibliography: Anonymous filmaker, "Un bel atelier moderne").
    Collections
    1932 - Purchased directly by Mrs. Suzy Solidor - France
    1973 - Château Musée de Cagnes - France
    Exhibitions
    1933 - Salon des Indépendants 1933, Paris, France
    1978 - Grand Palais, "L'art moderne dans les musées de province", Paris, France
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
    History
    Suzy SOLIDOR, Client: Discovered by Yvonne de Brémond d'Ars, who brought her from Brittany to Paris, Suzy Solidor (Saint Malo, 1900 - Cagnes-sur-Mer, 1973) rapidly became famous for her beauty, and was much in demand by many painters. She became a singer thanks to a husky and troubling voice that lent itself particularly well to cabaret singing. Her book, entitled Cent peintres, un modèle (One Hundred Painters, One Model), of course included the portrait Tamara de Lempicka had done of her. Solidor donated her collection to the Musée du Château of Cagnes-sur-Mer in 1973.
  • The Sleeping Girl (Kizette) I
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    The Sleeping Girl (Kizette) I

    B.174
    circa1933
    Oil on wood panel
    31 x 41 cm (12 1/4 x 16 1/8 in) 
    T.DE LEMPICKA. (on the back of the panel)
    (La dormeuse (Kizette) I )
    Lempicka's daughter Kizette sat for this new "Sleeping Girl".
    Collections
    1934 - Private collection - Switzerland
    1976 - Private collection - U.S.A.
    1994 - Private collection - U.S.A.
    Exhibitions
    1935 - Salon des Femmes Artistes Modernes 1935, FAM, 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
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    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.
    Auctions
    11/05/1994 - NEW YORK. Christie's “Miyoko-7904”, # 308 $ 350 000
  • Portrait of Miss Poum Rachou
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    Portrait of Miss Poum Rachou

    B.175
    1933
    Oil on canvas
    92 x 46 cm (36 1/4 x 18 1/8 in) 
    (Portrait de Mademoiselle Poum Rachou *)
    In a 1922 portrait of her daughter, Lempicka had Kizette hold a most complacent teddy bear (see B.9). Here, the stuffed toy is endowed with overly bright eyes, as if ready to rebel.
    Collections
    1934 - Purchased directly by Mr. Louis Rachou - France
    1992 - Private collection - Germany
    Exhibitions
    1934 - Salon des Tuileries 1934, Paris, France
    1994 - Accademia di Francia (Villa Medici), "Tamara de Lempicka/ Tra eleganza e trasgressione", Rome, Italy
    Auctions
    14/05/1992 - NEW YORK. Sotheby's “6294-Marc”, # 274 $ 380 000
  • Wide Brimmed Hat
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    Wide Brimmed Hat

    B.176
    1933
    Oil on wood panel
    46 x 38 cm (18 1/8 x 15 in) 
    T.DE LEMPICKA.33. (bottom left)
    (Capeline *)
    A work in the same spirit as the artist's 1930 "Girl with Glove", purchased by the Musée du Luxembourg. In this circa ion, the white dress and dreamy eyes imply a sort of virginity.
    Collections
    1933 - Purchased directly by Mr. Gino Puglisi - Italy
    1985 - Private collection - France
    1989 - Private collection - France
    Exhibitions
    1933 - Salon des Tuileries 1933, Paris, France
    1936 - Salon des Femmes Artistes Modernes 1936, FAM, Paris, France
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
    Auctions
    12/06/1989 - PARIS. Binoche & G. Drouot Montaigne, # 118 $ 281 300
  • Portrait of Count Vettor Marcello
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    Portrait of Count Vettor Marcello

    B.177
    circa1933
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    DE LEMPICKA. (bottom left)
    (Portrait du comte Vettor Marcello *)
    The young Venetian count is strikingly modernist. By including a port in the background, once again the artist suggests new departures, and hopes for liberating discoveries and breaks. We know that Lempicka herself was an enthusiastic traveller.
    Collections
    1932 - Private collection
    Exhibitions
    1933 - Salon des Tuileries 1933, Paris, France
    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.
  • Portrait of Count Vettor Marcello (study)
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    Portrait of Count Vettor Marcello (study)

    B.178
    circa1933
    Oil on canvas
    (Portrait du comte Vettor Marcello, étude)
    Collections
    1932 - Private collection
    History
    Count Vettor MARCELLO, Client: The count's lineage reaches far back in time, to include - besides several valorous warriors who drove back the Turkish - three doges of Venice and a composer of chamber music. In the early thirties, artists, together with the land's rich and famous, all congregated at his "villa" near Padua. In 1933, Lempicka was also a guest there on several occasions.
  • Portrait of a Man
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    Portrait of a Man

    B.179
    circa1933
    Oil on wood panel
    24 x 16 cm (9 1/2 x 6 1/4 in) 
    T.DE LEMPICKA. (artist's stamp bottom left)
    (Portrait d'homme)
    Collections
    1982 - Private collection - France
    Exhibitions
    1997 - Hiroshima Museum of Arts. Tamara de Lempicka, Tokyo-Hiroshima, Japan
  • Portrait of a Woman
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    Portrait of a Woman

    B.180
    circa1933
    Oil on wood panel
    27 x 19 cm (10 5/8 x 7 1/2 in) 
    T.DE LEMPICKA. (artist's stamp bottom left)
    (Portrait de femme)
    Collections
    1987 - Collection of Anna Gardner Luce - U.S.A.
  • Portrait of a Girl
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    Portrait of a Girl

    B.181
    circa1933
    Oil on wood panel
    27 x 19 cm (10 5/8 x 7 1/2 in) 
    T.DE LEMPICKA. (artist's stamp bottom right)
    (Portrait d'une jeune fille)
    To the left, under the light, this could be taken as the portrait of a studious girl. But shadow also plays a major role in this painstakingly conceived portrait: it is the source, at least pictorially, of the work's emotional charge.
    Collections
    1987 - Private collection - U.S.A.
    Exhibitions
    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 Polish Girl
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    The Polish Girl

    B.182
    1933
    Oil on wood panel
    35 x 27 cm (13 3/4 x 10 5/8 in) 
    DE LEMPICKA (bottom right)
    (La Polonaise *)
    A girl, wearing a brightly-colored Polish shawl over her head, looks up from her prayer book. Along with several others, this devotional image, painted on the little mahogony panels of which the artist was so fond, is reminiscent of the art of icons. The framing recommended by Lempicka (in a letter to her friend Gino Puglisi) - namely, a chrome-plated encirclement, set against a very large board - reinforces this analogy. An aquatint has been made of this painting (A.151).
    Collections
    1935 - Purchased directly by Mr. Gino Puglisi - Italy
    1994 - Barry Friedman Ltd. - U.S.A.
    1995 - Private collection - Germany
    Exhibitions
    1933 - Salon des Tuileries 1933, Paris, France
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
    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.
    Auctions
    23/02/1993 - NEW YORK. Sotheby's “6397-Torse”, # 64 $ 0
  • Polish Peasant Girl
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    Polish Peasant Girl

    B.183
    1933
    Oil on wood panel
    (Paysanne polonaise *)
    The first (?) version of the preceding painting; however, here the subject is treated in more secular fashion.
    Collections
    1933 - Purchased directly by Mr. & Mrs. Léger - Canada
    Exhibitions
    1933 - Macy's, New York, New-York, United States
    1934 - Salon des Femmes Artistes Modernes 1934, FAM, Paris, France
    History
    The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).
    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.
  • Girl with Scarf
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    Girl with Scarf

    B.184
    circa1933
    Oil on wood panel
    (Jeune fille au foulard)
    A work that again features a Polish shawl. At this stage of her life, Lempicka seems to have experienced a deep longing for her homeland and native roots.
    Collections
    1933 - Unknown collection -
  • Girl with Bent Head
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    Girl with Bent Head

    B.185
    circa1933
    Oil on wood panel
    (Jeune fille, tête penchée)
    Collections
    1933 - Unknown collection -