A.153

circa1934

Crayon on paper

Lempicka (artist's stamp bottom right)

(Portrait d'homme)

A.154

circa1934

Crayon on paper

T.DE LEMPICKA. (artist's stamp bottom left)

(Jeunes filles malgaches I)

Auctions

26/02/1993 - NEW YORK. Sotheby's Arcade “1423”, # 60 $ 2 100
21/06/1988 - PARIS. Briest, # 142 $ 3 330

A.155

circa1934

Crayon on paper

T.DE LEMPICKA (artist's stamp bottom left)

(Jeunes filles malgaches II)

Auctions

21/06/1988 - PARIS. Briest, # 155 $ 3 000

A.156

circa1934

Crayon on paper

(Africain I)

A.157

circa1934

Crayon on paper

(Africain II)

A.158

circa1934

Crayon on paper

(Homme d'Afrique du nord)

Collections

1980 - Fundacion Victor Manuel Contreras - Mexico

A.159

circa1934

Conté pencil on paper

Lempicka (bottom)

(Fleur d'arum)

Collections

1980 - Private collection - U.S.A.

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!

A.160

circa1934

Crayon on paper

Lempicka (bottom right)

(Mère et enfant)

Collections

1995 - Private collection - Italy

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).

A.161

circa1934

Crayon on paper

T.DE LEMPICKA (artist's stamp bottom left)

(Visage de femme)

Auctions

21/06/1988 - PARIS. Briest, # 147 $ 2 830

A.162

circa1934

Crayon on paper

LEMPICKA. (artist's stamp bottom right)

(Figure d'homme)

A.163

circa1935

Crayon on paper

(Etude de main)

Collections

1995 - Private collection - Italy

A.164

circa1935

Crayon on paper

LEMPICKA. (artist's stamp bottom right)

(Etude d'après...)

Collections

1972 - Private collection - France

A.165

circa1935

Crayon on paper

Lempicka (bottom left)

(Etude d'après…)

Collections

1980 - Private collection - U.S.A.

A.166

circa1935

Crayon on paper

Lempicka (bottom left)

(Etude d'après…)

Collections

1980 - Private collection - U.S.A.

A.167

circa1935

Crayon on paper

LEMPICKA (artist's stamp bottom right)

(Etude d'après...)

Collections

1972 - Private collection - France

A.168

circa1935

Crayon on paper

(Diane chasseresse)

Collections

1972 - Private collection - France

A.169

circa1935

Crayon on paper

Lempicka. (bottom right)

(Portrait d’homme)

Auctions

05/11/1991 - NEW YORK. Christie's “Audrey-7247”, # 124 $ 850

A.170

circa1937

Crayon on paper

Lempicka (bottom left)

(Portrait de femme)

Auctions

10/11/1992 - NEW YORK. Christie's East “Beat-7363”, # 53 $ 1 900

A.171

circa1937

Crayon on paper

Lempicka / Paris 1923 (bottom right)

(Portrait de femme)

A drawing very reminiscent of Maryette Lydis's technique. It has obviously been backdated.

Auctions

10/11/1992 - NEW YORK. Christie's East “Beat-7363”, # 52 $ 1 900

A.172

1937

Crayon on paper

Lempicka Paris 1937 (top right)

(Portrait d’une femme à l'opéra)

This drawing prefigures the painting "At the Opera" (B.222).

Collections

1937 - Purchased directly by Mr. George Costaki - Greece

Auctions

24/03/1983 - LONDON. Sotheby's PB. “Cagnes”, # 359 $ 1 050

A.173

1937

Watercolor on paper

Lempicka/Paris 1937 (bottom right)

(Elégante au chapeau fleuri)

Collections

1988 - Private collection - Greece

Auctions

12/05/1988 - NEW YORK. Christie's “Bataille-6598”, # 155 $ 30 000
05/12/1988 - PARIS. Cornette de St C. , # 69 $ 8 350

A.174

circa1937

Watercolor on paper

Lempicka 1933. (bottom right)

(Flore I)

The date - added later, together with the artist's signature - is uncertain.

A.175

circa1937

Watercolor on paper

Lempicka (bottom right)

(Flore II)

Auctions

14/02/1991 - NEW YORK. Christie's “Beth-7218”, # 63 $ 0

A.176

circa1938

Crayon on paper

Lempicka (bottom right)

(Jeune tahitienne)

Auctions

07/06/1991 - PARIS. Lenormand, Dayen, # 13 $ 6 900
22/11/1989 - PARIS. Ader, # 93 $ 8 600

A.177

circa1938

Crayon on paper

(Etude pour "Suzanne au bain")

See B.207.

Collections

1980 - Fundacion Victor Manuel Contreras - Mexico

A.178

circa1938

Conté pencil on paper

(Etude pour "l'enfant blonde")

See B.214.

A.179

circa1938

Crayon on paper

Lempicka (bottom right)

(Une rose)

Preliminary drawing for a painting by the same name. See B.211.

Auctions

22/11/1989 - PARIS. Ader, # 94 $ 0
24/01/1990 - PARIS. Loudmer, # 186 $ 0

A.180

circa1938

Crayon on paper

T.DE LEMPICKA. (artist's stamp bottom right)

(Etude de visage)

Auctions

05/05/1986 - PARIS. Renaud, # 25 $ 2 700

B.186

1934

Oil on canvas

(Portrait d'Alphonse XIII)

In biographies of Lempicka, this work is often mentioned. In a letter to Gino Puglisi, on September 9, 1934, the artist herself wrote: "For one week now, I have been in Salsommagiore, where I am doing the portrait of His Majesty, the King of Spain." An unidentified work.

Collections

1934 - Collection of Alfonso XIII - Spain

History

The King ALPHONSE XIII, Client: Lempicka's portrait of this king, done at the start of 1934 (according to a letter sent to her friend Puglisi), is mentioned several times, including in the 1939 catalogue of the Paul Reinhardt Gallery in New York. Sadly, no trace of this work has been found at the Zarzuela Palace near Madrid. Kizette de Lempicka's biography of her mother informs us that this monarch was a very talkative person. Apparently, while doing his portrait, Lempicka asked him to kindly keep quiet during the sitting session.

B.187

circa1934

Oil on copper

T.DE LEMPICKA. (trace bottom left)

(Madonina *)

This precious icon was painted on a small copper plate.

Collections

1943 - Purchased directly by Mr. Daniel Sikles - France
1997 - Barry Friedman Ltd. - U.S.A.
1998 - Private collection - U.S.A.

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).

B.188

1934

Oil on wood panel

DE LEMPICKA. (top left)

(La Bretonne *)

Following in the wake of the two Polish girls, here is a Breton. Soon to come would be the "peasant men", "peasant girls", and "old men", along with the rustic simplicity of pitchers, bowls and square linen pieces. Times were changing, and Lempicka was inspired to turn to traditional values.

Collections

1934 - Purchased directly by Mr. Gino Puglisi - Italy
1992 - Private collection -

Exhibitions

1934 - Salon des Tuileries 1934, Paris, France

B.189

1934

Oil on wood panel

T.L. (bottom right)

(La vierge bleue *)

Lempicka's pathetic letters at this time, written to her friend Gino Puglisi, reveal deep depression rendering her less and less able to paint. Only religious subjects still seemed meaningful in the face of her mental distress.

Collections

1934 - Purchased directly by Mr. Gino Puglisi - Italy
1992 - Private collection -
1994 - Private collection - Italy

Exhibitions

1934 - Salon des Tuileries 1934, 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).

Auctions

19/04/1994 - ROME. Finarte, "892", # 174 $ 60 400

B.190

1935

Oil on wood panel

(Vierge à la larme)

Collections

1935 - Unknown collection -

Exhibitions

1935 - Salon des Femmes Artistes Modernes 1935, FAM, Paris, France
1938 - Salon des Tuileries 1938, 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
1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States

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).

B.191

1935

Oil on canvas on cardboard

LEMPICKA. (bottom left) 1935 (on the back of the canvas)

(La Mère supérieure *)

The two tears in this work were judged severely by the critics, upon the occasion of a travelling show organized in California by the Julian Levy Gallery. Done at a critical point in Lempicka's life, this painting - reminiscent of Rogier Van der Weyden - is unabashedly anachronistic.

Collections

1976 - Musée des Beaux-Arts de Nantes - France

Exhibitions

1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
1957 - Galerie Sagittarius, "Tamara de Lempicka", Rome, Italy
1961 - Galerie Ror-Volmar, "T. de Lempicka, œuvres récentes et anciennes, 1930-1960", 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

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).
1935, Chronology: De Lempicka fell into a lengthy spell of depression. During a trip to Tuscany she decided to retire to a convent, engaging the Mother Superior in long discussions. She did not put her plan into action, but painted a tragic portrait of the nun. She wrote sorrowful letters to her faithful confident, Gino Puglisi, a handsome Italian airman.
The MOTHER SUPERIOR, Portrait retained by Lempicka: Lempicka went through hard times in the mid-thirties: in depression and anxiously aware that her reference points were dissolving, she underwent several major moral crises. At such times, she called all her certainties into question. It was in this frame of mind that, during a stay at a convent in Italy, she encountered a nun who made a powerful impression on her: "...I could read all the suffering in the world on her face, a face so terrible to contemplate, so sad, that I dashed out." She later turned this recollection into a moving portrait.

B.192

1935

Oil on canvas

(Mendiant à la mandoline *)

The elegant mandolin featured as instrument here, together with the gesture being accomplished (and even, who knows, the note being played?), are the same as those that captivated us in "The Musician", painted by the Lempicka six years before. The lapse of time between the two was enough to transform the sylphlike young lady of the first, into this old man bent with years.

Collections

1976 - Musée départemental de l'Oise, Beauvais - France

Exhibitions

1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States
1939 - Carnegie Institute 1939, "38th International Exhibition of Paintings", Pittsburgh, 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

B.193

1935

Oil on wood panel

(Portrait de Gino Puglisi jeune)

A portrait of her trusty confidant, in nuanced gradations of gray. Lempicka shoves to the foreground the wedding band on the ring finger of the subject's beautiful hand: indeed, life is not simple!

Collections

1935 - Purchased directly by Mr. Gino Puglisi - Italy
1992 - Private collection -

History

1935, Chronology: De Lempicka fell into a lengthy spell of depression. During a trip to Tuscany she decided to retire to a convent, engaging the Mother Superior in long discussions. She did not put her plan into action, but painted a tragic portrait of the nun. She wrote sorrowful letters to her faithful confident, Gino Puglisi, a handsome Italian airman.
Gino PUGLISI, Family or close friend: Gino Puglisi was born in 1898, the same year as Lempicka; he died in Rome in 1992. Lempicka and Puglisi met in 1933, and the latter remained the artist's most faithful friend to the day of her death. He was a pilot who lived in Sicily (Catane), where he is said to have directed an art gallery. He moved to Rome in 1950. Besides works by Tamara de Lempicka, he also collected pieces by Maryette Lydis, Madeleine Luka, and Marie Laurencin.

B.194

1936

Oil on wood panel

LEMPICKA. (bottom left)

(Saint Antoine *)

Lempicka must have venerated Saint Anthony rather specially, for she produced three replicas of this painting. At the time of her death, in Cuernavaca, the last circa ion was still on her easel. In fact, the portrait depicts her psychiatrist at the Zurich clinic where she was treated for depression (cf. Repertory).

Collections

1939 - Purchased directly by Mrs. Iliana Bulova - U.S.A.
1982 - Barry Friedman Ltd. - U.S.A.
1989 - Private collection - U.S.A.

Exhibitions

1938 - Salon des Tuileries 1938, 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
1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States

History

Lempicka's PSYCHIATRIST, Biography, Psychology: There was a staff psychiatrist at the thermal spa of Bircher-Binner in Zurich, where Lempicka frequently stayed starting in 1934. Strangely enough, Lempicka's portrait of him resembles Saint Anthony (see Passion by Design, The Art and times of Tamara de Lempicka, op. cit. p.125). She would subsequently make several copies of this portrait, as if obsessed by this ascetic figure.
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).
1936, Chronology: As her mental state deteriorated De Lempicka retreated for frequent spells to a clinic in Switzerland. She managed to disguise a portrait of the psychiatrist dealing with her case as St Anthony of Puada. Her frail mental state had no deleterious effect on her beauty and powers of seduction, as a series of portraits by the Milanese Camuzzi photographer shows.

Auctions

05/10/1989 - NEW YORK. Christie's “Peter-6908”, # 109 $ 19 000

B.195

1936

Oil on canvas on cardboard

(Avant l'orage *)

Did Lempicka have forebodings - already in 1936 - that she would once again endure exile?

Collections

1986 - Private collection - U.S.A.

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.

B.196

1936

Oil on cardboard

LEMPICKA. (top left)

(Saint Jean Baptiste *)

Lempicka depicts the head impaled on a pike, although it usually is presented on a tray. Can we be sure this is indeed John the Baptist? The question stands, for this tragic figure is in many ways comparable to the beheading of Holofernes by Judith, such as portrayed by Artemisia Gentileschi, a 17th-century woman-painter, whose biography must have impressed Lempicka.

Collections

1980 - Fundacion Victor Manuel Contreras - Mexico

Exhibitions

1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States
1981 - Seibu, "Tamara de Lempicka", Tokyo-Osaka, 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).

B.197

1937

Oil on canvas

LEMPICKA. (bottom left)

(Quattrocento *)

Much of the inspiration for this composition came from Botticelli's "St. John and Jesus".

Collections

1937 - Purchased directly by Mr. Chistoni - Italy
1980 - Private collection - France

Exhibitions

1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States

Auctions

25/05/1980 - MONACO. Sotheby's, # 130 $ 5 000

B.198

circa1937

Oil on wood panel

LEMPICKA. (pencilled top right)

(Graziella *)

An odd thing about Lempicka's models is that their eyes never look down at the books they hold.

Collections

1976 - Musée des Beaux-Arts du Havre - 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
1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States

B.199

circa1937

Oil on wood panel

(Copie de la Sibylla Libica de Michel-Ange)

Collections

1950 - Purchased directly by Mr. Gino Puglisi - Italy
1992 - Private collection -

B.200

circa1937

Oil on canvas on cardboard

LEMPICKA. (top left)

(Le paysan)

It is quite possible that, during this troubled period searching for new values, Lempicka joined others in the belief that "the good earth never lies!"

Collections

1938 - Purchased directly by Mr. and Mrs. W.Die - U.S.A.
1988 - Private collection - U.S.A.
1989 - Private collection - France

Exhibitions

1938 - Salon des Tuileries 1938, 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

Auctions

28/06/1988 - LONDON. Christie's “Model-3863", # 258 $ 27 000
14/05/1989 - LE TOUQUET. Pillon, Palais de l’ Europe, # 112 $ 39 100

B.201

circa1937

Oil on wood panel

T.DE LEMPICKA. (top right)

(Paysanne à la cruche *)

A young peasant girl, her hair gathered under a simple scarf, gracefully lifts a pitcher to study its neck. The artist resorted to this theme in an attempt to escape the anxieties of her time.

Collections

1937 - Purchased directly by Mr. and Mrs. W.Die - U.S.A.
1996 - Private collection - U.S.A.

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

B.202

circa1937

Oil on canvas

(La paysanne *)

The poncho this young "peasant girl" wears evokes Mexico: a country that fascinated Lempicka, and where she decided to spend her last years (See Doc.66).

Collections

1980 - Lempicka Estate - U.S.A.
1998 - Barry Friedman Ltd. - U.S.A.

Exhibitions

1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
1941 - Julien Levy Galleries, "Tamara de Lempicka", Los Angeles, United States
1942 - Milwaukee Art Center, "Tamara de Lempicka (Baroness Kuffner)", Milwaukee, United States

B.203

circa1937

Oil on canvas

(Paysanne en prière *)

A more explicit rendering of "The Polish Girl", for which the artist's daughter Kizette had posed. Of the two photographs of this painting, taken by Marc Vaux, each shows a different lock of hair.

Collections

1938 - Purchased directly by Baron Raoul de Kuf - Hungaria
1985 - Barry Friedman Ltd. - U.S.A.
1988 - Private collection - U.S.A.

Exhibitions

1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States

History

The RELIGIOUS FEELING, Biography, Psychology: Religious feeling, intrinsic to Tamara de Lempicka's nature, began showing through in her oeuvre with works such as "Mother and Child" (B.12), although, admittedly, this work in particular was created under the direct influence of Maurice Denis. The moral crisis undergone by the artist from 1934 to 1936 exacerbated this feeling. And, finally, at the end of her life, Lempicka commended her soul to God through her numerous replicas of Madonna and St. Anthony (which, moreover, stood side to side with other copies of the sulfurous Rafaëla).

Auctions

22/06/1983 - NEW YORK. Sotheby's "5701", # 31 $ 6 000
11/05/1988 - NEW YORK. Sotheby's “5709-Trovatore”, # 386 $ 52 500

B.204

circa1937

Oil on wood panel

(Madone *)

This painting existed in a first circa ion, as can be seen from a photograph by Marc Vaux. The artist's inspiration for this work can be traced to Michelangelos's study for "St. Anne and the Virgin Mary", at the Louvre.

Collections

1976 - Musée départemental de l'Oise, Beauvais - France

Exhibitions

1941 - Julien Levy Gallery, "Tamara de Lempicka / (Baroness de Kuffner)", New-York, United States
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 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).

B.205

1937

Oil on canvas

T.LEMPICKA. (on the back of the canvas)

(L'Innocence *)

The face, hairdo, and ribbon necklace hark directly back to various sketches by Watteau. But the result Lempicka achieved perfectly embodies her era's photographic bent.

Collections

1937 - Purchased directly by Mr. & Mrs. Marcie- - France
1980 - Private collection - Argentina

Exhibitions

1961 - Galerie Ror-Volmar, "T. de Lempicka, œuvres récentes et anciennes, 1930-1960", Paris, France

B.206

circa1938

(Claudia *)

An unidentified work.

Exhibitions

1939 - Paul Reinhardt Galleries, "Tamara de Lempicka, Paintings and Portraits", New-York, United States

B.207

circa1938

Oil on canvas

DE LEMPICKA. (bottom right)

(Suzanne au bain *)

In 1938, Lempicka seemed at last to have prevailed over her depression. She began producing abundantly, and was, moreover, spurred on by an upcoming show in New York. She intended this work as one of the highlights of her show at the Paul Reinhardt Gallery, scheduled for the beginning of May, 1939.

Collections

1990 - Private collection - Italy

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
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

B.208

circa1938

Oil on canvas

LEMPICKA. (pencilled top right)

(Nature morte aux arums et au miroir)

If Lempicka ever swore her loyalty to anything in life, it would be to these flowers. Here, they are made to convey an unmistakably clear message of loving tenderness. The mauve coloring may have been added later, over an originally black background. The work's French format (15 P) suggests that this painting was done before Lempicka left for the States.

Collections

1976 - Musée National d'Art Moderne - Paris

Exhibitions

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

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!

B.209

circa1938

Oil on canvas

T.DE LEMPICKA. (artist's stamp top right)

(Arums, étude)

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!

B.210

1938

Oil on canvas

LEMPICKA. (bottom right, each)

measurements of each canvas (Fleurs coupées dans des vases, quatre peintures)

Magnolias, tuberoses, roses, and lilies: these four flower portraits were intended as a set.

Collections

1980 - Lempicka Estate - U.S.A.
1981 - Barry Friedman Ltd. - U.S.A.

B.211

circa1938

Oil on canvas on cardboard

LEMPICKA. (bottom right)

(Une rose)

Collections

1980 - Fundacion Victor Manuel Contreras - Mexico

B.212

circa1938

Oil on canvas on cardboard

LEMPICKA (bottom right)

(Roses)

Collections

1980 - Fundacion Victor Manuel Contreras - Mexico

B.213

1938

Oil on canvas

T.L.38 (bottom right)

(Portrait de petite fille I)

Collections

1938 - Unknown collection -

B.214

circa1938

Oil on canvas

Lempicka / Paris 1924 (pencilled bottom right)

(L'enfant blonde)

The child's snapshot-quality pose and the "natural" light in this painting bring to mind work done after a photograph, in a sort of before-her-times hyperrealist style. No doubt, the handwritten signature, and (unlikely) date, were both added later.

Collections

1990 - Private collection - France

Auctions

14/11/1989 - NEW YORK. Christie's East“Viking -6909”, # 270 $ 21 000
24/01/1990 - PARIS. Loudmer, # 189 $ 45 800