Lot 464. Tamara de Lempicka (1898-1980). Le Vieil homme. Huile sur toile; 40 x 32,5 cm. Signé en bas à gauche

Estimate 200,000-250,000 euro. Art Auction. 11/23/15

Lot 705. Tamara de Lempicka (1898-1980). Tête de femme; signed and dated ‘Lempicka 1928’ (lower right), pencil on paper; 14 1/4 x 10 7/8 in. (36.3 x 27.5 cm.). Drawn in 1928

Provenance

Galerie Alain Blondel, Paris. Anonymous sale,

Millon & Associés, 25 March 2005, lot 451. Acquired at the above sale by the present owner.

Literature

Blondel, Tamara de Lempicka, Catalogue raisonné, 1921-1979, Lausanne, 1999, no. A.115 (illustrated p. 461).

Estimate £7,000 – £12,000. Christies. 6/26/15

Lot 373. Tamara de Lempicka 1898 – 1980, ÉTUDE POUR FEMMES AU BAIN. Stamped T. de Lempicka (lower center). Oil on panel; 23 3/4 by 36 1/8 in; 60.2 by 91.9 cm. Painted circa 1929. Sothebys. 5/6/15. Estimate $300,000-400,000. SOLD FOR $790,000.

Provenance

Sale: Me Charbonneaux, Paris, March 20, 1988, lot 72

Sale: Vindobona, Krakow, April 24, 1990, lot 17

Private Collection, Poland Acquired from the above by 1994

Literature Alain Blondel, Tamara de Lempicka, Catalogue raisonné 1921-1979, Lausanne, 1999, no. B.121, illustrated p. 210

Catalogue Note Sensual, elegant and ultra-stylized in its presentation, Étude pour femmes au bain is a suggestive depiction of women bathing. Painted in 1929, while Tamara de Lempicka was living in Paris, this sumptuous composition exemplifies the artist’s chic and inimitable style.

Tamara de Lempicka was born in Poland and lived in St. Petersburg in her youth. In 1918 she traveled to Paris where she set about furthering her art education and cultivating a glamorous international persona. In the fall of 1920, she enrolled at the Académie Ranson in Paris under the instruction of Maurice Denis. Denis was a Nabis painter with an affinity for the Italian quattrocento and it was through him that Lempicka first acquired an appreciation for the Italian Primitives which she would later discover in person during her 1925 studies in Rome. It was in 1921, however, when Lempicka began to take lessons from André Lhote, that she learned the importance of precise draftsmanship. Lhote was a Cubist who  indomitably admired the work of Jean-Auguste-Dominique Ingres and he proved to be the young artist’s most influential teacher. Lempicka’s shared respect for the nineteenth-century artist can be found in the present work, which owes much to Ingres’ final masterpiece Le Bain Turc. Ingres’ celebrated composition of numerous nude women in a harem provided Lempicka with an archetype for how to arrange figures in intimate proximity to one another, depict female figures in various poses, and tackle multi-figure arrangements.

Lempicka first exhibited her work publically in the Salon d’Automne and Salon des Tuileries of 1922. It was through her exposure to the height of avant-garde art that abounded in Paris at this time that she derived a distinct style of painting unlike any of her male contemporaries. Impressed by the Cubists and their deconstruction of form, she applied similar techniques in her paintings; adapting them to suit her style. Loosely tied to the geometric aesthetic of Cubism and the proportionality of Neo-Classicism, Lempicka’s painting can be characterized by its razor-sharp draughtsmanship, theatrical lighting and sensual modeling. Her most striking depictions of women, including the tantalizing Étude pour femmes au bain, have come to personify the age of Art Deco.

Lot 463. Tamara De Lempicka (1898-1980). Bouteille et chou-fleur, signed ‘T.DE LEMPICKA’ (upper right), oil on canvas, 18 1/4 x 21 7/8 in. (46.5 x 55.5 cm.). Painted circa 1924. Estimated £60,000 – £80,000. Christies. 2/5/15.

Exhibited: Paris, Galerie du Luxembourg, Tamara de Lempicka de 1925 à 1935, June – July 1972, no. 1, p. 12 (titled Nature morte au pain; with inverted dimensions).
New York, Barry Friedman, Ltd., Tamara de Lempicka, October – November 1996, no. 19 (titled Nature morte au pain).
Tokyo, Isetan Bijutsukan, Tamara de Lempicka, July 1997, no. 8, p. 46 (illustrated); this exhibition later travelled to Hiroshima, Fine Art Museum, August 1997; Nagoya, Matsuzakaya Art Museum, September 1997; and Osaka, Daimaru Art Museum, October – November 1997.

Lot 74. Tamara de LEMPICKA (Varsovie 1898 – Cuernavaca 1980). Corbeille de raisins. Huile sur toile marouflée sur panneau, 20 x 25 cm. Signée en haut à droite Lempicka. Provenance: Collection de Monsieur A. Bibliographie : A.Blondel, Tamara Lempicka catalogue raisonné de l’œuvre, Lausanne, 1999, n° B314 reproduit page 364. Estimate 12,000-15,000 euro. Millon. Nov 21, 2014.

Praca jaka przyciąga swoja niską wyjściową ceną, niską wycena (jak na prace Łempickiej), scenerią art-deco z liliami; w sumie jest to najlepszy i najbardziej poszukiwany okres artystki. Nawet jest proweniencja: pochodzi z rąk oszusta z Nevady jakiego zgarnęło FBI z majątkiem i skąd do rąk domu aukcyjnego ta praca trafiła. Dodatkowo, praca zaopatrzona jest jak sie patrzy w certyfikat autentyczności z wypukłą złota pieczęcią (to może kosztować!). Jest grzecznie oprawiona w nowoczesną rame a tył jest zaklejony by niczego nie podejrzeć. Panienka na obrazku trochę nieudana ale to drobiazg bo praca sygnowana bardzo czytelnie (by nie było wątpliwości co do autorstwa) drukowanymi, wielkimi literami. Młodzi i naiwni powinni popatrzeć pod kątem nauki. A co na to FBI? Cymes nad którym ktoś się doprawde napracował przed sprzedażą.

Czekam teraz na list od jakgoś czytelnika z pytaniem co złego widzę w tej pracy? Ma przecież wszystko co trzeba!

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Lot 35H. Oil on Canvas by Tamara de Lempicka; signed, size approx. 43 1/2 x 36 in. Tamara ?empicka, commonly known as Tamara de Lempicka (16 May 1898 ? 18 March 1980) was a Polish Art Deco painter and “the first woman artist to be a glamour star”. Estimated Price: $275,000 – $300,000. Starting price $12,500. Art Everywhere Auctions.

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Sygnatura

Proweniencja

FBI info

Pieczęć

To już ostatni z czterech rysunków Łempickiej na aukcji w Shannon’s.

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Lot 23. TAMARA DE LEMPICKA Polish (1898-1980). Man with Hat. Pencil on paper, signed lower right, stamped lower left. 8 1/2 x 5 3/8
Provenance: a gift from Christine F. Foxall, the artist’s grandaughter, to the present owner.
Literature: Passion by Design, The Art and Times of Tamara De Lempicka by Baroness Kizette De Lempicka-Foxhall, illus. Page 100. Estimate $ 6,000-8,000. Shannons. Oct 23, 2014

Lot 22. TAMARA DE LEMPICKA. Polish (1898-1980). Head Study; pencil on paper, signed and inscribed “Florence 1929” lower right, stamped lower left. 8 1/2 x 5 3/8. Provenance: a gift from Christine F. Foxall, the artist’s grandaughter, to the present owner.
Literature: Passion by Design, The Art and Times of Tamara De Lempicka by Baroness Kizette De Lempicka-Foxhall, illus. Page 100. Estimate $ 6,000-8,000. Shannons. Oct 23, 2014

Lot 21. TAMARA DE LEMPICKA Polish (1898-1980). Head Study. Pencil on paper, signed and stamped lower left. 8 1/2 x 5 3/8
Provenance: a gift from Christine F. Foxall, the artist’s grandaughter, to the present owner.
Literature: Passion by Design, The Art and times of Tamara De Lempicka by Baroness Kizette De Lempicka-Foxhall, illus. Page 100. Estimate $ 6,000-8,000. Shannons. Oct 23, 2014