拍品 368
  • 368

TAMARA DE LEMPICKA | Les Deux amies V

估價
400,000 - 600,000 USD
招標截止

描述

  • Tamara de Lempicka
  • Les Deux amies V
  • Signed Lempicka (lower left)
  • Oil on canvas
  • 26 3/4 by 15 in.
  • 68 by 38.2 cm
  • Painted circa 1974.

來源

Galerie Domberg, Stuttgart
Private Collection (acquired from the above in 1990)
Sale: Christie's, New York, May 5, 2005, lot 396
Private Collection
Sale: Aguttes, Paris, April 2, 2010, lot 110
Acquired at the above sale by the present owner

出版

Joanne Harrison, "A Portrait of the Artist," in Houston City Magazine, Houston, August 1978, illustrated p. 41
Alain Blondel, Tamara de Lempicka, Catalogue Raisonné, Lausanne, 1999, no. B489, illustrated in color p. 417

Condition

The work is in excellent condition. The canvas is unlined. There is a minor loss to the pigment in the upper left corner. Under UV light, no inpainting is apparent.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

拍品資料及來源

In pioneering her own distinct style, Lempicka absorbed a variety of elements from the avant-garde movements of her time—the geometric aesthetic and fragmented perspective of Cubism, the vibrant color palette of the Fauves, the proportionality of Neo-Classicism, the dynamic lines of the Futurists, the dream-like spatial logic of Surrealism and the razor-sharp draftsmanship and hyper-realism of the Neue Sachlichkeits in central Europe—blending these styles and influences with her love of the Italian Old Masters to extraordinary effect. As Magdeleine Dayot writes, the paintings are a “curious blend of extreme modernism and classical purity that attracts and surprises, and provokes, perhaps even before conquering completely, a sort of cerebral struggle where these very different tendencies fight with each other until the moment the gaze grasps the great harmony that reigns in these opposites” (quoted in Gioia Mori, Tamara de Lempicka: The Queen of Modern, Milan, 2011, p. 21).